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^'Art in Dress" 



'By 

P. Clement Brown 

620 Fifth Avenue 




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DEDICATED 

TO 
MY MOTHER 



CopyrigKt b^J 

P. CLEMENT BROWN 

620 Fiftk Avenue 
New York City, N. Y. 

IQ22 



First Edition 

P. Clement Brown, Publisher, 

New York City, New York. 



Ten 



Introduction 

The contents of this book show how it is possible toi become an Original 
Designer. 

P. Clement Brown has answered every possible question by Descriptions 
and Illustrations from his Pen and Brush, carefully carried out in diagrams 
of Patterns. - f 

How to think out Designs for your own success. 

How to make your newest Seasons Blocks (Professional Patterns) in 
any size. 

How to successfully use the Blocks. 

How to handle your Materials and Fabrics. 

How to combine Colors and Materials. 

How to use Ornamentation. 

Your line comes first and each detail follows in sequence so that you 
may construct and put together the Smartest Fashions of the Day. 

Study a Problem a Day and you will gradually put together a Model 
that will compliment anyone known as a Designer. 



Eleven 



Artistic Lines Are the Fine Arts of Costume 

Design De Luxe 

Psychology of Line means Mental Products. The elements of Beauty 
(Proportion, Symmetry, Simplicity, Variety and Grace) of Line are brought 
forth by the Lines of Creation and Adaptation. So, too, the proper handling 
of materials and fabrics, color, and material combinations, and ornamentations 
develop the Designs as a whole. 

At first it is necessary to get the true idea of Line. Taking first the 
Silhouette Lines, which are the outside line forecasting the Fashion of the) 
Day. It is the outline of a Model for example, it may be a chemise, or 
straight line, or semi-fit or figure fitting, or draped, or bouffant or expanded 
lines. From exterior lines we have interior lines. These may be the neck 
line, yoke line, center front line, or waist line (tight, semi-fit and loose or 
chemise). Our governing lines which are Line One, or Body Line, Chest 
Line, Bust Line, Waist Line, Top of Limbs Line, and End of Knee Cap Line. 
These are very important and must be properly mastered. 

Everything has line and possibility. As you gradually proceed you will 
receive other ideas from your lines and apply them into your Fashions. Lines 
denote Individuality and must be properly handled. Try to form in your 
mind a line, now just cut or snip away a part of the same line and substitute 
an original line. Make a Fashion Mirror and keep reflecting altered lines. 

The idea of Period re-creation is only adapting, changing and modernizing 
lines. First cultivate Line Sense and then adaptation. 

Harmony of Line is one of the most essential items after the preparation 
of Lines that you are to use in the Model. Do not spoil your effect by bring- 
ing in unrelated lines. If you have a round neck line do not use square hnes. 

Remember, simplicity is the key-note. A creation with a touch of indi- 
viduality at the neck line or on the edge of the sleeve, with the frock featuring 
one of the season's silhouettes, is by far a better design than one overdone 
by amateur efforts. One of the best slogans of a Designer is to "Know 
when to quit". 

Do not apply ornamentation : like collar, cuffs, laces, embroidery, ribbons 
and any applied art and believe that you are introducing new lines. Lines 
must be properly handled by themselves and then turn your attention to 
applied art. 



Twelve 



Line 

The discussion of Line Construction is of great importance in the char- 
acter of your Model. If it is without Line, it is without Style. It is of equal 
importance with Color and Materials. The character of your Model is deter- 
mined by Line Draftsmanship. 

Beauty of Line is the individual impression that is given to a Model. It 
is the firm foundation upon which other ideas and ideals are based. Good 
Line can be used without Color, but Color cannot be used to advantage with- 
out Line. It is the frame of expression for beautiful materials. 

Line is something that began with Historical Periods. It is constructed 
for permanency. It changes with Seasons, year after year. 

Designing can be taught through Psychology of Line. Through Style 
Draftsmanship the Designer of the Modern School is able to create the Best 
Line for the Consumers of Fashions. 

Necessary or Common Lines are the Neck Lines, Edge of Sleeve Lines, 
and Hem of Skirt Lines. These Lines are generally dominated by moving 
radius. Such Lines as Square, Round and V Neck Lines are Lines that have 
numbered among the "Best Sellers" of the Past-Present and the Future. In 
Designing upon Common Lines use simple angles, pointing, arching, or forma- 
tion by curvature of Line. An angle is the meeting of two points. You can 
arrange Lines to meet in different points forming different shapes, hence dif- 
ferent designs. For instance, take a Square Neck Line, cut the corners open 
and insert a projecting V pointed shape about two inches long. This cuts 
your line forming something new yet wearable. Edge of Sleeves, Edge of 
Panels, Side Seam Lines, and Hem of Skirts must be governed by simple 
Logic. 

Perpendicular Lines denote dignity or severity. Making a line prominent 
produces a majestic effect. These are like the Girder Lines of your Model. 
Do not make an extreme cut or overshadow by ornamentation, as it weakens 
your supporting lines. 

Lines that extend at right angles or across, like Chest Line, Bust Line, 
Waist Line, etc., are Divisional Lines. Their predominance is position. The 
Top of Limbs and End of Knee Cap Lines are also in this class. Do noto 
boldly cut away or distribute your Lines. This separates your Design into 



Thirteen 



two different objects. It is better to keep your design as a whole. Correct 
Divisional Lines must be logical. 

First: The Division must be treated and developed as a whole. For 
example, if you suggest a Yoke, continue your line to a definite point and 
finish it out, do not suddenly drop it. There are nothing so bad as small cuts 
and jogs in designing. 

Second : You must introduce exclusiveness of Line. Interior Line work 
must be different yet harmonious. Bear in mind mechanical connections, 
so that it will make up easily, and your Lines should not be confusing. 

Third: Conformity of Line is the regard of spacing, placing and other 
characteristics in your conception of ideas. You will gradually learn through- 
out your work that there is such a thing as Vulgarity of Line. Line must be 
used as Decoration. 

The effective conception of Line is a "Common Sense Line". 



Fourteen 



Fine Art of Costume Design de Luxe 

By 

P. Clement Brown 

The Psychology of Costume Design de Luxe is explained by applicable 
programme of lessons, illustrations and writings. 

The Art of Designing is a reasoning process. By perception, relation, 
influence, references and every" day facts, you can form modern creations. 

Designing is the gradual cultivation of a sense that is embodied in the 
Human Being. We need go no further back than the days of the American 
Indian, who had a mind of cultural Individuality. 

The stages of the development in the "Art in Dress" are pursued through 
the process of Psychology of Line, thus employing the mind to work the Lines 
into various new and profitable ideas. In other words, turn your Talents into 
Profits. 

Designing is purely mental. This Talent sometimes is latent. Gradually, 
this invisible gift, through study and application, will arise and become a 
valuable asset. 

The principal of designing is aiming to create a model that is acceptable 
because of its popular line. It is commonly known that you cannot please 
Everyone, but there is more than a majority appreciating Smart Clothes. 

The force of conception, or that part of the Mind that Molds, must have 
a skeleton to work upon. As a spider spins its web, from object to object, so 
Costume Design spins its way. 

Most simple elements or bits taken from here and there should form 
positions of value (Lines of constructive value). It is well to keep a note 
book so you may compile knowledge and experiments for future usage. 

Make your Studio a Laboratory of Designing. You may either be an 
Artist Designer, by just sketching your ideas, or as a Designer from the 
best atelier of Abroad and America, by producing your Model in the actual 
Fabric. You may see and judge the result by draping the sample model 
in muslin or tissue paper. 

The important principles of Designing are the Powers of Attraction that 
you employ. This is done like a Mechanic of Fashion Ideas. A Mechanic 
works towards advancement with a scientific point of view. Scientific Design- 
ing is a cultural development. It is a movement thus begun in France and 



Fifteen 



has now spread through all America. You are analyzing your designing by 
mentally combining Designs and People. Results find their expressions in the 
Styles of the Present Day. "If it is worn it is Designed." We may analyze 
the infant Child to the experienced Individual so our field is classified by the 
"World at Large." 

The "Art of Dress" derived its origin not alone for a necessary adorn- 
ment but for an expression of Individuality. Some have the expression for 
themselves while others have the gift to express for the Beauty of Others. 

Dress will always predominate. It is the satisfaction of mind, tempera- 
ment, and moods. It is one of the most talked of "Topics of the Day." 
It has its range from extremes — Ecclesiastical to Theatrical. 

"Art in Dress" is the artery through which flows the Life of Scintillating 
Beauty. It is ever changing through the same "Psychology of Line". 
Architectural Anatomy (From the French). Comprising 

every department of Illustrating and Coloring. 
Designing by Psychology of Line (a Twentieth Century 

Idea for Designing Everything That Is Worn). 
Professional Making of Pattern Blocks (a System Used by 
Professional Designers of Yesterday, To-day and 
To-Morrow to Produce That "Made in France" Way). 
A Book thoroughly treating every Department of Designing, 
and answering every question on "Art in Dress"; from 
Sketching the Original Design to producing it on a 
living Model. Originals can be made in all sizes, with- 
out sacrificing their chic lines. 
The Success of a Designer depends on how many of his 
Models are saleable, and this Book shows and instructs 
you "How it is Done." 



By 

P. CLEMENT BROWN 

of 

BROWN'S SALON STUDIOS 

New York City, New York Paris, France 

San Francisco, Calif. 



Sixteen 




Eighteen 



Profile Face 

First draw perpendicular Line AB. Then draw Lines C, D, E, F and G 
at right angles, dividing your Line AB into four equal parts, 1, 2, 3, 4. Next 
take one-quarter the length of the nose (between Lines E and F) and mark 
points shown X on the diagram, one-quarter the length of the nose out on 
Line E, and one-quarter the length of the nose out on Line F. Through 
these points draw Line H from the top of the forehead to the base of the 
chin (from intersection of Line D and your AB Line to the intersection of 
Line G and AB Line). Next fix your point 5, which is one-half the distance 
between Line H (on Line E and on Line F) and the main perpendicular 
Line AB. Take one-quarter the length of the nose on both sides of point 5 
(on F) and that will give the width of the nose from the tip to wing of nostril. 
This should equal one-half the length of the nose, which is half the distance 
between Lines E and F. Now draw Line known and marked as Arrow 
Line on the diagram, which should measure from (point 5 on Line E) one 
width of the nose in on Line E. This gives to you a position for the center 
front of the eye-ball or iris. The tip of the eyelid is one width of the nose 
in from X on Line E, where Line H intersects E. The width of the eye is 
also one width of the nose from tip of the eyelid. Whatever width you make 
eyelid, drop the corner down that much and taper from front down. Make 
width about one-eighth the length of the noses. As Arrow-Line cuts eyeball 
directly through the center, it will be even on both sides, and connect back 
with oval. From the Arrow-Line to the front of the ear should equal three 
times the width of the nose, and from the front of the ear to the back of the 
skull should be the same. The front of the ear is at the end of the third space, 
and the length of the ear should be the same length as the nose (between 
Line E and Line F). Next draw your mouth. The point for the Cupid's Bow 
is one-quarter the length of the nose down under point 5 (point of the upper 
hp), and from that point down one-quarter more for the tip of the lower lip, 
and between the two tips is the opening or the channel of mouth (one-half 
between the two points). Slant these measurements gradually towards the 
intersection of Line H and Line G (the bottom portion of chin). Remember 
that all the measurements on and below Line F are in one-quarter the length 
of the nose, and those on Line E one-half the length of the nose. 
These rules are applied to any size. 



Nineteen 




Twenty 



Full View Face 

First draw a perpendicular Line AB. Then rule Line C, D, E, F and G 
at right angles, which divide the Line AB into four equal parts (1, 2, 3, 4). 
To commence your face start at the base of the nose (Line F). The width of 
the nose equals one-half the length (between Line E and Line F). You 
measure one-quarter the length of the nose on both sides of Line AB, then 
sketch in nostrils. Next draw the two parallel dotted lines as shown on 
diagram. This will fix the position for the comers of the eyes. The width 
of the eyes, irrespective of corners, must be equal to the width of the nose. 
Measure from each dotted line one width of nose. The eyelid must be kept 
the same throughout, (width about one-eighth length of nose), in order to 
fix points to measure from for the width of the face. Now take the sides 
of your face; the inner portion of the eye is the width of the nose, and the 
outer portion or tip of the eyelid is the width of the eyelid out from the 
inner point. The distance to the temple from the outer portion of lid 
(marked with heavy lines) should equal one-half the width of the nose. 
Draw in all outlines. The ear is the same length as the nose. Next draw 
your mouth. The tip of the upper lip or center of the Cupid's Bow is one- 
quarter the length of the nose down, from Line F on Line AB, and from 
that point one-quarter more for the tip of the lower lip. One-half way 
between these two points is the divisional channel. 



Twenty-one 



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Twenty-two 



A Three-Quarter View of a Thirty-Six 
Model with a Full View Face 

Commence by drawing your Body Line, or Line One, from top to bottom 
of your chart as shown on diagram. Then divide that line into ten equal 
parts, each part to be the length of one face. At the end of the first part 
draw a line at right angles ; this is the top of the neck. To obtain the width 
of the neck, take half of the length of the face — that is half of the first space. 
Then measure the width out on Top of Neck Line from Body Line. The 
Length of the neck should be two-thirds of the width of the neck. To obtain 
these thirds it is necessary to divide the width of the neck into three equal 
parts, each part is to be known as a third. When you measure two-thirds 
down draw a line at this point at right angles and call it the end of your 
Neck Line. Keep your thirds intact, as they play a most important part 
throughout your work as a Designer. The drop of the shoulders is one-half 
the width of the neck. Measure this down on Body Line, and at that point 
draw the top of your Shoulder Line. The shoulder that is nearest to you is 
equal in width to one and one-third necks (or four equal thirds). The 
shoulder that is farthest from you or shoulder turning away, should equal two 
necks or (six thirds) from Body Line on Top of Shoulder Line. The depth 
of the arm-hole equals the width of the neck. 

To obtain the position for the Waist Line measure down three and one- 
half faces from the top of your line (inclusive of the first space), and at this 
point draw a line at right angles to Body Line. The width of the waist 
should be one and one-half necks. At that point draw Lin© C parallel to 
Body Line or Line One. Now draw the Silhouette Body Lines A and B, on 
the side that is nearest to you, should start from the end of the arm-hole. 
You might start from the shoulder point and follow the curve of the arm-hole, 
slightly expanding for the fullness under the arm. The line becomes straight 
and passes through the intersection of Body Line and Waist Line. Line B 
should start from the tip of the receding shoulder, taking the curve on the 
inside of the arm-hole, slightly curved for the mould of the bust. It then 
becomes straight and passes through the intersection of Line C and the 
Waist Line. Where A and B point, fix your center front. To draw Line 
D (or Center Front Line), start at the center of your neck on the End of the 



Twenty-three 



Neck Line, the curve of D must cut Line C at the most prominent part (the 
center of the Busts) and continues to the point of Lines A and B. Then draw 

Chest Line or Line E from the end of arm-hole to the end of arm-hole (across) . 

Next draw your arms, the length of which are to wit : From the arm-pit 
to Waist Line equals from arm-pit to elbow and from elbow to wrist the same 
measurement. Same can be swung in any position. Like a pendulum. 

To draw hands, from the wrist to the first joint of the finger should be 
about three-foittths the length of the face; measure up one-third from first 
joint for second joint and one-third from second joint for knuckles; tips 
extend over first joint. (One-third is the third of the width of the neck.) 

To obtain the proper proportions for the head, divide the top space into 
thirds, and add on top another such third, making the four spaces. Your 
Line AB Face center Line comes directly in the center of the neck. 

When a Designer becomes familiar, always start with the head first and 
then draft the Body on. Use every draft proportions, Lines, etc. As Design- 
ers use no guess proportions throughout the work, the Designs are 
Bymmetrical. 

Corsetiering Manikins 

Continue upon the three-quarter view of a Thirty-six Model with a 
Full View Face. From the Chest Line or Line E measure down two-thirds 
or four-thirds (these are the same thirds obtained from the width of the 
neck) ; at this point draw a line at right angles and mark Bust Line. Measure 
from Waist Line one and one-half faces (this is five faces inclusive of first 
space or face), at this point draw a line at right angles and mark Top of 
Limbs. From the Top of Limbs measure down two and one-half faces (this 
is seven and one-half faces, inclusive of the first space or face), at this point 
draw a line at right angles and mark it End of Knee Cap. From the End of 
Knee Cap measure down two and one-half faces (this is ten faces, inclusive of 
first space or face), at this point draw a line at right angles and mark it 
Soles of Feet. 

For corsetiering measure out on Waist Line from Body Line or Line 
One one and one-half thirds. Then measure three-thirds on Top of the Limbs 
Line from Body Line or Line One. On the receding side (or side that is 
turned away) measure one-third from Line C. 



Twenty-fuur 



The abdominal portions, hips, etc., are all governed accordingly, but it is 
well to remember that the side that is farthest from you follows closely to 
Line C with a semi-curve form. On the near side start on Line A about three- 
thirds above Waist Line, slightly curving for shape of the waist, passing 
through the one and one-half thirds and then down through the three-thirds 
with a corresponding hip curve to opposite side. 

The limbs are continued by sketching silhouette lines. No rules can 
govern such, just practice. End of Knee Cap at seven and one-half faces 
down and Soles of Feet at ten faces down. 

Make the foot bearing the poise and the weight of the Body rest directly 
back on Body Line or Line One. 

Small Backs 

Draw Line One vertically ; divide this line into ten equal parts, making 
each part the length of one head. The front is worked up in faces ; take note 
the back is worked up in heads. Divide the top space into four equal parts. 
Three of these parts equal one face. Draw a line at right angles at end of 
face. Width of neck equals one-half length of face, evenly placed (one-half 
on each side of Body Line or Line One). The length of the neck is two-thirds 
of the width of the neck and draw line at right angles at this point. One-half 
width of the neck is the drop of the shoulders. Draw a line at right angles at 
this point. Width of shoulders one face on each side of Line One or Body 
Line ; width of arm-hole is the same width as neck. Bust Line is two and one- 
half heads down. At this point draw a line at right angles. The Waist Line 
is three and one-half heads down. At this point draw a line at right angles. 
The Top of Limbs is five and one-half heads down. At this point draw a line 
at right angles. End of Knee Cap is seven and one-half heads down. At this 
point draw a line at right angles. The Soles of the Feet are ten heads down. 
At this point draw a line at right angles. 

The width of the waist is one neck each side of Line One or Body Line. 
Draw in outside silhouette lines from tip of shoulders down to waist. Thigh 
one face out from Body Line or Line One each side of Top of Limbs Line. 



Twenty-five 




Twenty-six 



Draft of Sleeve 



Draw Lines One and Two in left hand corner of paper ; with Blue Square 
dot down lYz inches on Line One and Dot point A. Now take your Red 
Curve (that part which is for the sleeve is denoted by slant line of perfora- 
tions), put your V 6 on A, with V 4 resting on Line One, dot in Eyelet Dot 
One. Next measure around arm-hole of draft, a Model measure is 16, dot in 
Number 16 hole in perforation and this Dot make B. 

Drop your Red Curve with your V 6 still resting on Dot A and draw the 
top of your sleeve from A to B dots. That is the curve and part above per- 
foration. This is the top of sleeve or Line Three. 

Next put the Figure 2 (that is the 2-inch measurement) on the Arm- 
Syce Forming Curve. Put this 2 inches at Dot B, and then continue to draw 
the underneath part of sleeve and the rest of Line Three from Dot B to 
Eyelet Dot One. 

From Dot A on Line One measure down 13^ inches and Dot C on Line 
One. This is the length of sleeve from point over shoulder to elbow. 

Now put point of Blue Square (where short and long arm of square unite) 
on Dot C short arm on Line One, and draw indefinite length Line Four along 
the long arm. Before moving this square Dot in on Line Four one and one- 
quarter inches, and make Dot D. 

From the Eyelet Dot One (the first dot made in the perforated part) 
you draw from this Dot your Line Five down to Dot D on Line Four, now 
from Dot B to Line Four you draw Line Six parallel wdth Line Five 

Put point of Square at Dot C, short arm this time on Line Four, with 
the long arm continuing as if you were about to draw a continued Line One 
straight, but instead dot only on the inside of the Blue Square four inches 
down, and make Dot E. Now draw from Dot C through Dot E down lOYz 
inches (measurements from elbow to wrist) and at this point Dot F. This is 
the continued Line One. 

From Dot D draw Line Five parallel with the slant Line One, and next 
draw Line Six parallel with Line Five. Square off at the bottom, wrist. 

You have now drafted the top and the Lower parts of your sleeve Block. 
To separate take a tracing wheel and lay draft on another piece of paper 
and trace off lower Draft. 



Twentv-seven 



It is necessary to reduce the Draft at wrist, as Model wrists differ. Ma- 
jority of Model wrists measure 6 inches around. Divide into half, which is 
3 inches each for wrist of Top and Lower. Put your 3 inches even on 
the Draft (that is, reduce evenly off both sides). Dotted lines on the guide 
will exhibit to you how to proceed. Treat the lower part the same. 

Sleeve Creations 

Designing. 

Sleeve designs must be carefully chosen to beautify a creation. Some 
of the most charming ideas are just harmonious touches to the sleeve taken 
in suggestion from the Frock. Remember to keep simplicity as the keynote. 
Do not make heavy designs about elbow or wrist, such a model by movement 
of arm loses its design. Sketch an arm first according to proportions, 
then design upon this sketch a bell-shaped sleeve. The side Line of this 
Problem One Model was originally without cut. A simple insert cut on 
this line displays an original idea. 

No. 1. Take your drafted block and cut across at Line Four {elboiv). 
Keep handy your thirds (the width of the neck of the sketch divided into 
three equal parts). Whatever measures a third upon the sketch, becomes 
an inch upon the pattern, taken from the same point. The; heavy lines 
on the miniature denote the block ; first lay block on your tissue paper Top 
part of your draft. Line One perfectly straight from Top to Wrist. Take 
your measurements of thirds. Look on both sides of wrist on the sketch; 
(when an arm is on one side of the sleeve you will have to place your block 
measurements in the center, three thirds, then measure on each side). Do 
not expect the wrist of the sketch and block to measure the same across. 
On sketch the seam is on the inside. The outside is on a fold. On sketch 
on the edge of sleeve you will note that it measures two-thirds from dots. 
Look to pattern No. 1 ; whatever is a third on sketch becomes an inch on 
draft. From Line One we measure in two inches; as an imderside is to 
be considered as well, so we measure two inches more. Draw line at four 
inches straight up to ^ inch down on Top and then put lower part of draft 
on, Back to Back, meeting at the top and ^ inch down, with bottom 
separated four inches, two inches for top and two inches for bottom. Now 
turn to sketch for seam line. Line 6 side, you will note that the measure- 



Twenty-eight 



ment on bottom line is two-thirds, so on pattern measure out at the bottom 
two inches. Draw Line straight up to top, and measure out on the lower 
side two inches, as that also measures two-thirds on sketch and draw line 
straight up to top. In cutting this block out leave one-half or three-quarters 
of an inch seams at bottom and sides, but at top cut straight along draft, or 
an inch over curve if you want slight puff, and continue on Line 3 under- 
neath arm. 

No. 2. In this problem the block is separated from elbow to wrist. As 
per diagram on left hand side. 

No. 3. Perfectly straight tight sleeve, two seam and extension on back 
from elbow to wrist. As per diagram on left hand side. 

No. 4. Close-fitting sleeve. Cut without separating at elbow. With 
extra flared cuff. For cuff measure down IJ^ inches and then out one inch, 
curve line down. Divide into one-half dot, then one-half on each side of 
that dot, draw line up to wrist and insert a spring y^ inch wide at bottom 
tapering up to nothing; this is pasted in pattern only. When laying on your 
material spread as flat as possible and cut. Right hand side of diagram. 

No. 5. In problem Five all cuts are doubled. For example, if it measures 
one inch from the center point of the cut, on pattern it is transferred to two 
inches. Right hand side of diagram. 

No. 6. In fullness lika problem Six, you add one or two inches extra, 
according to amount desired. 

In the problems of designing carefully study the points of advantage 
and manipulation of your blocks. 



Twenty-nine 




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Thirty 



Instructions for Drafting Yoke 

Lay Blue Square on right hand side of paper; draw Line One. This 
line corresponds to a line down middle of back. Draw Line Two square 
with top of paper. 

Now place point of square at right hand corner of paper; now measure 
down on your Line One the amount of the arm-syce measure IQYz- 

Now put point of square at this dot, short arm of square resting on 
Line One, and draw Line Three, across paper, parallel with Line Two. 

Before moving square. Dot in your half of the width of the back 6^ 
inches; also at continued measure which is the beginning of the front, 12 
inches; next Dot Chest 19 inches; next Dot Bust 21 inches. These four 
Dots are all on Line Three. 

Now draw straight lines up from these dots to Line Two above, parallel 
with Line One. These Lines as they come in order are Four, Five and 
Six. On Line Two between Lines Five and Six divide into one-half and 
draw a short line downward. This is Line Seven and corresponds to our 
Body Line or Line One of the Sketch. 

Next place your square at the dot on Line One of Draft. The first 
dot made and the beginning of Line Three; this Line Three corresponds 
to your Line E or Chest Line of your sketch. From this dot measure up 
the rise of your back, which is 8 inches, and make dot on Line One. Nov/ 
measure in from Dot, two inches; this is the amount over the bone in the 
back of the neck. At the end of this two inches raise one quarter of an 
inch and make dot. 

Between the first dot on Line One and the dot that you have just made 
on Line One for the rise, you divide into half on Line One, and from this 
dot you draw a Line Eight over to Line Four and measure one inch above 
the end. This point is the end of the shoulder seam. 

Now take your curve and look for that small part that says "Back of 
Neck". This is to be used at that point where you measured in two inches 
from the 8-inch rise on Line One, and it is raised at the end one-quarter 
of an inch ; put the front of this down and just draw the shape in up to that 
point, one-quarter of an inch above. Now look on curve to that portion 
where it says, "Forming Rule of Back" ; you will note V2 just after the part 
where it says "Front of Shoulder". Put this V2 on the end of your Back 



Thirty-one 



of the Neck point and draw the back shoulder seam down and through the 
point that is one inch above Line Eight, on Line Four, and extend one- 
quarter of an inch beyond Dot. " 

Now measure the distance between the points on Line One, A (the 
first dot made on Line One) and the Dot that you have just made at the 
end of your Back Shoulder Seam Line. This, if correct, should be 8% 
inches, and the length of the shoulder seam 6 inches. 

You take this 8% inches of the tape-line and put it at the point where 
Line Five touches Line Three (8^ inches of the tape extends up Line Five) ; 
place your left hand finger on 13 inches on tape (this is the inches of the 
pitch of the shoulder taken in measuring) ; with pencil in right hand pick 
up the end of the tape measure and swing a curved line from the end of your 
shoulder seam through Line Five and a little beyond. This semi-circles to 
give the natural slope of the shoulders. 

Now whatever the back of your neck may be take that much out of 
your tape line and place it at the intersection of Line Five and Line Three, 
and then look up farther along your tape line and stop at lO^/a inches, the 
Arm-syce measurement. You let this point rest on Line Seven. 

Make the front shoulder seam correspond with the back in length, so 
you measure from this point a length to a point on the semi-circle line for 
shoulder slant. This is 6 inches. Put a Dot at this point. Pick up your 
Red Curve and turn to that point marked V 1 and place that on the dot 
that is on Line Seven and then draw over the part where it says, "Front 
Shoulder"; stop at dot that you have made on semi-circle line. 

To put in the Arm-hole. Turn to that part of the Red Curve where 
it says, "Arm Syce Curve". For the front let V 8 touch Line Five with the 
curved end of form resting on Line Three, the upper portion resting on the 
end of the Front Shoulder Seam. 

Now that we have drawn front of the Arm-hole, we will draw the 
back by turning the Red Curve face downward. Let V 7 rest on Line 
Three and the curved portion extend through the end of your Back Shoulder 
seam. The front and back lines of Arm-Hole should meet. 

For the neck. We will also use the part marked "Arm Syce Curve". 
We deduct the amount that is already in, in drafting that portion of the 
neck that goes over the line in the back of the neck. In this case it is two 
inches. We look to the two inches on the curve and put that on the Dot 



Thirty-two 



that is on Line Seven. We divide the amount of your neck measurement 
into one-half ; one-half of the neck here is 6^4 inches ; we let that number 
on the Arm Syce Curve rest on Line Six, and we draw in this curve for 
our neck. 

We connect this point with the end of the Bust Point with either a 
curved line or a straight line drawn with our square. 

These measurements are for a perfect Thirty-six. 



Yoke Designing 



One of the most technical points is the designing of a yoke, which is 
your first double line feature. As you will note upon your illustrations 
two such common lines. Your law of designing should be, leave one line 
common and beautify the other, trying to introduce one of the newest 
fancies. In my designing you will notice: if I have a line square-toned I 
do not introduce a combination of curves, or Vs, or oddities, but keep to 
my touch of harmony. 

Possibly it seems to you that Yokes are not at all essential. They are 
just as important and as muchly used as any advantage point of design. 
For Blouses, Sports Wear, and Lingerie especially. 

We have three base mediums to work upon and they are Squares, Rounds 
and Vs. 

We turn now to designing; keep sketch and pattern before you. Select 
your important guide points. Become familiar with corresponding Lines, 
relative points in both Sketch and Pattern. Line Seven of Pattern becomes 
your Body Line or Line One of your Sketch. Your Center Front Line of 
Pattern is your Line D on Sketch, and four inches down on the Center 
Front Line of Pattern is your Bust Line on Sketch. You turn your pattern 
back from Bust Line to neck point (point on Line 6) for your Center Front. 
Your Chest Line is Line Three. 

In your designing visualize your points. When you place your creation 
of lines try to treat space between important points as well as the points. 
In my Designs to you I have varied my examples. I have kept to the 
center in Problem One, spread as in Problem Two, (you will note my line 
spreads along coming close to and rising from Chest-Line). I have in Prob- 
lem Three gone so far as to drop my line into a collar effect, showing how 
extreme you can use your line. 



Thirty-three 



Pattern Designing 



With the thirds of the width of the neck proceed to take off your pat- 
tern from the Sketch. Whatever is a third on the sketch becomes an inch 
on the draft. Using Problem One as an example of transferring Original 
Ideas. We first measure on Line D for end of Yoke. Get the nearest 
point and measure up, in this case it is the Bust-Line. This is one-third 
or one inch up from the Bust-Line on Center Front (Line D). For the 
width of the band that extends from the Chest-Line down, the width is one 
third, but in the case of up and down strips it is necessary to double on 
pattern. This being the case it is two inches on pattern. The length of 
the strip is two-thirds or two inches from Chest-Line. The extension is 
one-third out from outside of strip. For the Yoke part measure from Line 
One on Shoulder Seam 1^ thirds down and from the tip of the shoulder 
up lYn thirds. The space in between is the width of the yoke. Keep the 
width the same throughout, also get your exact point on Line One at chest, 
which is one-third out. In the case of Problem Two, we have all points 
of design on Chest Line. In Problem Three, the points are more "intricate". 
The difference in Problem Three is that the front shoulder seam curve is 
continued along your Red Curve downward, and the back is made to cor- 
respond with the front. 



Modeling 



To Model take your pattern and lay on material, white or colored tissue. 
In all French Rooms or Studios the Models are always worked up in muslin, 
cambrics, lawns, or other inexpensive draping materials or stuffs. In Pat- 
tern Houses they use Fancy Tissues. Trace off your Pattern on the Draft 
or Block with a tracing wheel. In cutting it out from tracing leave a one- 
half or three-quarter inch seam throughout, but close up around arm-hole 
and neck. Pin or baste your Model together. 

How to Take Measures 

1. Tie a cord around the waist, well down. 

2. Place a pin level with arm-pits at seam in back. (Middle of Back). 

3. Always make your arm-syce lOJ^ inches. 



Thirty-four 



4. Always make the pitch of your shoulders 13 inches through size 

36; then 15 inches. 

5. Width of one-half of back starts 2 inches above pin. Take this half 

measurement to where arm-hole would come in the back. Then 
continue with same tape to where arm-hole would come in 
front of arm. In doing this, you pass right under the Model's 
arm to the front with the same tape, and still hold onto the pin 
two inches above the first pin. 

6. Chest-Continue on with tape to over and above bust. Take this 

tightly. Drop from Chest with same tape to center of bust. 

7. Take around fullest part of the bust, loose enough for three fingers 

to pass under (or else exact measure) and add one inch. 

8. Rise of Back — From first pin to bone in back of neck. 

9. Length of Back — From prominent bone in back of neck to cord 

at waist. 

10. Length of Front — From same bone in back of neck, passing over 

shoulder to cord in center of waist front. 

11. Neck — Around neck, the largest part, exactly where collar should 

be on. 

12. Waist — ^Around smallest part of waist, as far as it will measure 

down tight. 

13. Sleeve — From turn of shoulder to elbow; from elbow to wrist. 

14. Skirt — From cord at waist to that point below knee as Fashion 

decrees. Be exact in measuring and your fit will be perfect. 
Note bone in back of neck is V/t inches through *33, then two 
inches. 



Thirty-five 



Order of Taking Measures and 
Measures for Practice 



Length of Arm-Syce . 

Width of Back 

Continued measure . . . 

Chest 

Bust 

Rise of Back 

Length of Back 

Length of Front 

Pitch of Shoulder 

Neck 

Waist 

Sleeve Top to Elbow. . 
Sleeve Elbow to Wrist. 
Skirt 



32 


33 


34 


36 


105^ 


101/2 


10 '/2 


101.^ 


5/2 


5/2 


6 


6'/^ 


11 


11 


12 


12 


16 


17 


18 


19 


18 


19 


20 


21 


61/2 


1% 


8 


8 


15 


15 


16 


16 


19 


21 


22 


22 


13 


13 


13 


13 


13 


13 


13/2 


13% 


24 


26 


261^ 


26^ 


13^ 


131/2 


131/4 


10/3 


10/2 


10/2 


10/2 


13'/ 


34 


34 


36 


36 



Thirty-six 



JOAKEOUTONE 



INCH DART^.X^« OFF mCM 





m 






i 
S 5 



i- 



s s s 



: I _ 

s's s s 



H-4- 





V 



1 

I 

I I • T 



m 



s s 


s_ . 


^ f / 


t 


1 





MEASURE NECK LINE 
AROUND SPRING SIX TIME* 
DOWN ONE HALF DISTANCE 
THIS IS ONE HALF PATtCHN 




Thirty-eight 



Continued Draft 



Draft Your Yoke first as the Yoke Lesson : Now Continue Block. 

The length of your back is 16 inches, and draw a line straight from the 
top of the neck point, this is the point where you measure in two inches. 
Dot from this point down on your center back line 16 inches. Then from 
this Dot draw your back Waist-Line in to under C. Before moving youn 
square, measure in ^^-inch on Waist-Line and draw a line up to ^ of the 
Rise of the Back. Below waist 9 inches down to the Center of Back Line. 

Divide on Line Three between B and C into Yz and from this arm-pdt 
draw a line down to waist-line and 9 inches beyond. To your right measure 
in a distance of one inch and dot. At Back Waist-Line and the Dividing 
Line measure 2^/^ inches (this will do in any size). Dot at this point and 
draw a line up to arm-pit. At the dot on waist-line take your Red Curve 
and look for V 3 of Forming Rule or Back. Turn face downward with V 3 
on 2j4'inch dot and draw Line of hip in down through the one-inch dot. 

Front 

Draw a line straight down from the Bust measure on Line Three on 
Point E. The length of your front is 22 inches ; we take 2 inches out, which 
is the Back of the Neck measurement, and we place the two inches at Dot 
on Line Seven. Then measure the remaining down on Center Front Line. 
Dot here and then draw front Waist Line straight across to dividing line. 
Before moving square dot ^-inch from dividing line. 

If your measurements are correct in the back we have 6J4 inches between 
the 2J^ inches in and the Yz inch in. This is Yz o^ Back Waist. Place your 
&Ya inches, which represents the back portion of your waist, on the ^ inch 
Dot on Front Waist-Line. Now place a dot at 13J4, which is Y2 o* 26^, 
or Waist-measurement. The amount that you have left is the amount that 
you divide into Y2 for two darts (in this case it is 2 inches for a dart). 

Make waist-line from center point slant up to intersection of back waist- 
line and dividing-line, and from the dividing line measure in before moving 
square Y2 i"ch. Take first one of your darts and divide into J^. Take 
this Y2 of your dart {one inch) and measure in from center front line and 
Dot, and draw from this dot up to Bust Dot on Line Three, and below waist 
back to center front line, 9 inches down. Take the other Y2 of the dart and 



Thirty-nine 



measure on Line Three toward your front from dividing point or Arm-Pit. 
You have now used up one dart, by placing it in halves from those two given 
points. You have now one more dart to dispose of, and this dart you measure 
in from your V^ inch on waist line.- Dot here and draw from this point to the 
Yz dart at arm-pit. You have now used both darts composing the block 
above the waist. For the hip line in front, you measure one dart over from 
the end of the back hip at the 9 inch point. Take Red Curve and place V 3 
face up on waist line and draw the hip line down through your 9 inches. 

Creating Ideas Upon Our Center Points 

The problems are now arranged upon our Center Line. The technique 
here will be the proper and cleverly spreading of this line. It is not exactly 
a cut that the theme here is based upon, but it is as if you open and pull this 
center division line into shapes and smart ideas. 

The name BIB is often used for the name of this particular inset. It 
is also considered as a panel front or a vestee. Your points or lines are closed 
top or bottom, and you have side lines which also have to be considered. 

Before anything else is considered or designed look at your material. 
Every line will not go with every piece of material. Do not apply square 
openings to textiles where weave is diagonal or pattern curved. Line is 
equally as important as color. Emphasize harmony in your line, you can 
use parts of a square line if you introduce it into your designing. For in- 
stance, in Problem One. You will find the top line of the open portion is 
square as it forms the straps that tie over. So when I cut the outside line 
of my Bib I used the straight lines. It is also well to learn that the Lines) 
are classified as straight, broken, curved and mixed. 

In Problem One with an all over design of a Paisley character, I have 
kept my inside opening between the Neck-Line and the Chest-Line, it is a 
small opening rather than spreading. This is the first time that the straight 
neck is used (Bateau). The semi-circle line of the cut corresponds with the 
figures of the material, and with the line of the neck. The upper inside lines 
of the cut correspond with the outer edge of the Bib Lines. The lines are 
carried longer by added strips which cross and button on the shoulders. 

In Problem Two, we spread our lines down farther, not alone between 
Neck and Chest Lines, but Chest Line and Bust Line. We are using a 



Forty 



plain material. Black or dark materials will make lines more pronounced, 
and it will immediately make curved lines appear to us more beautiful than 
unvarying straight lines. This problem will show you that lines can con- 
tinue each other smoothly. You have in this problem the semi-pointed ef- 
fect, separating the two by the ever classic tie. 

In Problem Three, the character of your line is going to denote your 
Individuality. Now we bring our lines into a more useful character. You 
can note, I have taken my end of the line and spread it at the bottom to 
form pockets. As if you have taken your Center Front Line and cut it into 
two lines and drape it. This will form pockets by bringing them to the sides 
of the vestee lines. Near Waist-Line it has been cut and turned back over 
the belt. In this Problem you have spread to the end of your line, going be- 
low the Bust Line, Waist Line, and Top of Limbs Line. You may say 
that you carried your line to the logical extreme. 



Pattern Designing 



Problem One. For the straight line neck it is necessary to take an 
inch off the center front. Taper full length down as per dotted line on the 
diagram. The Block has already been evened off from the neck to the one 
half of a dart in on Normal Waist Line. This extra inch is only taken off 
on the straight line necks. You also pinch in on the shoulder seam, one 
inch as per the dotted lines. Later we will add one inch from your side seam 
outward, but it is not necessary on this lesson. Our third (thirds of the 
neck) on Illustration is an inch on your Pattern. Measure down on your 
Line D for the top of the neck line, which is one-third. This third becomes 
one inch on your pattern or draft. The width of your strap is J/j of a third. 
All strips going at right angles are doubled, so this makes an inch on pattern 
or draft. The inner cuts (remembering from the cut on your sleeve) are 
always doubled, so on the sketch this measures 1^4 thirds. Transferred on 
Block three inches. Length of Bib is two-thirds below Bust Line, and width 
of same is two-thirds out from Line One or Body Line or Bust Line. 

Back. In putting this straight neck on remember that you shortened 
your shoulder line one inch on Block in front. Match your back up to it in 
putting your yoke on the back. Get the points of your shoulder to match 
and take it off of the neck, (^back of neck). 

In Back, proportions of thirds transferred to inches are drafted the same. 



Forty-one 



Problem No. 2. The curve of the Front intersects at the Chest and Line 
One. The slip tie is one inch above Bust-Line and one inch below Bust-. 
Line. The opening beginning below is two inches over from Line One. In 
making a slip tie measure your thirds and then double the length. It isi 
three thirds here, doubled makes six inches. The end of the opening is one 
inch above Waist Line. Curve your Waist Line now as pointed Basques 
are not suitable in this particular incident. The peplum below is sprung, it 
is opened and sprung 6 times. Dividing on bottom line between side seam and 
center front into ^, and then 14 again on each side of that dot. Then in 
between 3 extra times. Back is the same. Draw lines up from these dots to 
Waist-Lines, open and insert spring, spreading one inch at bottom tapermg 
up to nothing. Separate at the Waist Line ; then after cutting rejoin. 

Problem No. 3. The point on one side at the top laps over one-third. 
The opening extends one-third below Bust-Line. The Patch Pocket effect 
is drafted on the Vestee. Then trace through onto another piece of paper 
and put back on top. The belt is also done likewise. The extension for the 
end of the Vestee is 9 inches below. The drop of the same comes with the 
same curve along arm-hole line for a short distance and then drops straight 
to end. For any panels or vestees that hang from the shoulder or near 
shoulder, get yoiu: position and then drop or continue downward. Spring 
three times for added fullness but do not separate at waist-line. When full- 
ness is added by springing slight puckering comes into the pattern, but just 
press out or flatten and cut straight. This does not come on the part that 
you add fullness. Straighten your shoulder seam. 

For collar measure around neck take straight piece and cut to that length, 
four inches high. Spring this evenly six times ^ way down. At the end 
curve one inch in at middle point, semi-circle to ends. Fold collar at springs. 



Forty-two 




A TWO DAKTED LINING 
TRENCH BIAS LININ& 




m Af^DJI 

ONE DARTED LINING 
OARTLESS LINING 



"^ PBlMCESS LINING 




Forty- four 



Two Darted Lining, Number One 

First of all we will draft our Block for the Linings. You may use any 
size. The first thing to do is to obtain the correct amount of your darts. 

Work upon your Tight or Normal Waist Line, measure in one and one- 
half inches (lyi) dot, then measure the amount of one dart, dot, then measure 
three-quarters of an inch (54). dot, then measure one dart, dot. The amounts 
of IV2 inches and y/^ of an inch remain the same in every draft, but the 
amount of the darts change according to size. For the top or tip of the dart 
dot straight above the last dot of each dart on Bust-Line. For the sides of 
the dart take your Red Curve, put V 5 face up on last dot of each dart and 
draw right side of curve up to dots on Bust Line. For left side put face 
down and draw up to tip of dart on Bust-Line. Below the waist take Blue 
Square and draw straight down from first dot 9 inches and from second dot 
of first dart draw down to that point. Then measure in from this end, one dart 
and draw line down from first dot of second dart and then from last dot 
draw down to that point. For the under-arm seam use the ^ inch in line, 
which is drawn directly up to the dividing point under the arm. Below 
the waist draw hip line by taking your Red Curve and placing V 3 on the 
half-inch in (Face Up) and drawing down to the end of the Back hip line. 
Which is one inch from your Dividing Line. Use plain drafted Block for 
the back. 



French Bias. Number Two 

From the last dot of the second dart on Tight or Normal Waist-Lin© 
measure out one dart and dot, and from that point with your Blue Square 
draw up to the first dot of the first dart on Bust-Line, and then from that 
point drawn down to the last dot of the last dart. Below the Waist-Line 
with Blue Square draw down to the point of the last dart. For the second 
dart measure in one dart from the Yz inch point on Tight or Normal Waist- 
Line, dot, then draw up to the dividing line under the arm. Below the waist 
measure from the end of the back hip line over one dart, dot, then take V 
3 and place on point of dart on Tight or Normal Waist-Line and draw the 
hip curve to that point. Use the plain drafted Block for the back. 



Forty-five 



One Darted Lining. Number Three 

Between the two darts on Bust-Line divide into one-half (5/2). then 
directly under that point on Tight or Normal Waist-Line, Dot, then directly 
under that below Tight or Normal Waist Line dot nine inches (9) down. 
Place on each side of dot on Tight or Normal Waist-Line one-half of a dart 
and dot. For the sides of your dart above waist-line take V 5 of your 
Red Curve (Face Up) and place at dot and draw the right side of your dart 
up to dot on Bust-Line. For the left side put (V 5) face down and draw 
that side up to the dot on Bust-Line. For sides of your dart below Tight 
or Normal Waist-Line take Blue Square and draw down to the 9-inch 
measurement below. The second dart is taken out from under the arm, 
from the 54 inch point. Measure one dart in and dot, from that point draw 
line up to center point under arm. Below the Tight or Normal Waist Line 
measure in one dart from the end of the back hip line and then from dot 
on Tight or Normal Waist-Line, put V 3 of your Red Curve face up and 
draw in the front side of the hip down to your dot. Use the plain Block for 
the back. 

Dartless Lining. Number Four 

Measure in one-half (5^) of a dart from your center front and dot. Then 
take one full dart out from the ^ inch point on Tight or Normal Waist- 
Line point under the arm and dot, and from that point draw up to the di- 
viding line under the arm. Below waist measure over one dart from the 
end of the hip line of the Back Block, and place V 3 of Red Curve on dot 
on waist line and draw the front hip down to dot below. When placing 
lining on figure, take two small side darts on under arm seam, equivalent 
to the Yz remaining dart. Fold your front block back to the J^ dart point 
on Tight or Normal Waist-Line in front. Use same Block for back. 

Princess Lining. Number Five 

Use your two darted lining block for positions. Between your two dots 
on Bust-Line (top of your two darts) divide into one-half and directly 
above that dot measure up one dart and dot. Directly below these two dots 
on Princess Waist-Line, which is two inches above the Tight or Normal 
Waist-Line, make dot and 9 inches below Tight or Normal Waist-Line 



Forty-six 



make another dot. It is also permissable to work your Princess Lining 
on Tight or Normal Waist Line. Divide your dart into one-half and place 
evenly on each side of your dot on Princess Waist-Line. Divide your 
Shoulder Seam into one-half. Take your Red Curve (V 5) face up and 
place on this point and draw down to the dot above the Bust-Line. Now 
take your Red Curve (V 5) face up and place on dart dot on Princess Waist- 
Line and draw in your right side of dart up to the dot above Bust-Line. 
Face down on left side and draw up to same dot. Take Blue Square and 
draw down to the 9 inch point below Tight or Normal Waist-Line and then 
straight down for both sides. The front and back of a Princess Lining is 
in two parts. For second dart take one dart in from ^ inch point on Tight 
or Normal Waist-Line and dot and from that point draw up to under the 
arm. Below the waist measure over one dart from the end of the back 
hip point, which is 9 inches down. Take V 3 of your Red Curve and place 
at the dot point on your Tight or Normal Waist-Line and draw down to 
that point just made. Take your Blue Square and from the intersecting 
point of your underarm seam and the Princess Waist-Line draw down touch- 
ing the curve of your hip extending nine inches from the Tight or Normal 
Waist-Line and then down perfectly straight. Make length 30 inches from 
Tight or Normal Waist-Line. 

Back. Put in your Princess Waist-Line, which is two inches above 
Tight or Normal Waist-Line. Between your underarm seam and your center 
back divide into one-half, dot. Then on each side measure out % of an 
inch, dot. Divide your Shoulder Seam into one-half. Now take (V 5) 
face up and put on dot on Princess Waist-Line and draw in the right side 
of your dart up to the center of your shoulder and left side (V 5) face up 
and draw with the same curve up to your shoulder point. Dot down 9 inches 
directly vmder your dot on Princess Waist-Line from your Tight or Normal 
Waist-Line. Take % of an inch on each side of this point. Draw from your 
dart points on Princess Waist-Line to the opposite sides of these and then 
straight down. You will note that your sides overlap, you can get 
the overlapping by tracing off one side onto another piece of pattern paper. 
From the intersection of the underarm seam and the Princess Waist-Line, 
with your Blue Square, draw a line down touching hip of back block extend- 
ing nine inches below Tight or Normal Waist Line, and then perfectly 
straight. Make length 30 inches from Tight or Normal Waist-Line. 



Forty-seven 



Putting Together Lining 

Two Darted Linings and One Darted Lining with Flat Felled Seams. 

After your Linings have been cut out, having allowed Yz inch for seams ; 
join and sew together. Then cut off i^ of one side. Turn flat and hem. 
To sew lace around arm holes and neck, pin lace on right side of material 
and sew y% of an inch from edge. Then turn the J^ of an inch over on 
wrong side and then flat. 

French Bias with French Seams. 

Pin seams and sew 14 of an inch from edge on right side, then turn ma- 
terial and sew, making finished seam ^ of an inch. 

Dartless Lining with Standing Felled Seams. 

Pin seam and sew on traced line, then cut off Yz of one side of seam, 
turn side over and hem as far as Yz i"ch sewing. To sew lace around neck 
and armholes and roll at same time: — pin lace on right side Y» °i a" inch 
from edge of material, take a stitch through edge of lace and roll material 
at same time. 

Princess Lining French Seam. 

Pin seam and sew % of an inch from edge on right side, then turn ma- 
terial and sew making finished seam J4 of an inch. 



Forty-eight 




Fifty 



Designing Straight Line One-Piece Crea- 
tions. Introducing Silhouette Line 

The Silhouette Line is the outline of your Model which denotes the 
Trend of Style. The Shadow Outlines of a Model probably denotes the 
recreation from a Period. The chic lines of your creation depend upon the 
silhouette. Simplicity with smartness and exclusiveness of Line and quality 
pleases those who have good taste. 

In designing it is professional first to know your Silhouette line. This 
is the same as selecting your Block from which you are to make your Model, 
and add chic lines to carry out new ideas of adornment. 

Under the first problem of Chemise Silhouette, we are planning a straight 
line Model and with a waist-line that is straight and about three inches 
below normal. The definition of a straight line Model would be that the 
seam lines would be as straight as possible. Keep your lines simple and do 
not rudely cut or use plastic form (that is to cover over and lose a good 
effect in line). 

There are cycles in Silhouette Designs that repeat themselves Season 
after Season. The Chemise or Straight Line is one. 

The Chemise Line is the simplest line and yet the hardest to create. 
After I have obtained my Chemise Silhouette Lines I select a bold design 
in chintz (this being a good frame line for such a design). Just a httle 
above my Bust-Line and directly on my Body Line I relieve the Model by 
extending to the hem a panel of plain material (pique), 2i^ inches wide. 
For a relief and still within the laws I have threaded under the straight panel 
a four-inch (satin-faced) ribbon. At the side loop it over and allow it to 
hang. This is placed at my Chemise-Waist-Line which is three inches below 
Normal. I have kept far enough from Center Front to keep a good straight 
panel front and in the back I did not thread the ribbon through. This keep- 
ing an Individuality. Reason correctly and do not work away from the 
subject. 

Chemise Blocks 

Take Block (the plain working Block or Draft) and fold the front back 
from the neck to the waist line, which is ^ of a dart in. Place this on the 
fold of the paper or material. Measure out two inches (place a Dot) from 



Fifty-one 



your Chemise Waist-Line. Under the arm measure out One inch, and 
from that point draw down to the Dot two inches out from Chemise Waist 
Line and to a point seven inches down from Normal Waist-Line. From 
that point draw straight down to hem, which on a block should be about 30 
inches from the Normal Waist-Line. 

Back. Place Chemise Waist-Line on Back Block, and from this straight 
waist line on side measure out Two inches (place Dot). Do not measure out 
under the arm in the Back, but from your arm hole draw down through this 
Two inch Dot to a point seven inches from Normal Waist Line and then 
straight to the hem, which should be 30 inches from the Normal Waist Line. 

This rule applies to any size and block. 

Applying Springs for Fullness. 

To put in fullness it is done by a term called springing. It is generally 
the decision of the Designer, as to just how much fullness is desired to carry 
out his ideas. Common springing of your Blocks is done by dividing the 
hem line into one-half and dot, then divide each half into a half and dot, 
thus making three springs — Back and Front the same. 

Draw line straight up from these Dots to Chest Line and cut open with 
scissors. Cut a strip and apply it so that it will spread your draft one inch 
at the bottom and then taper up to nothing. You may paste in these strips 
or you may lay your draft upon another piece of paper and open these springs 
one inch at the bottom, pin down and then cut out fresh block. 

Experienced Designers have the Straight Line Blocks made up in a 
Round-neck, Square-neck, and the Straight-neck. 

Sometimes the fullness comes in the skirt and not in the waist portion ; 
then you can divide the Chemise Block at the Chemise Waist Line. This 
you divide into one-half and then one-half again, making three springs, spring 
% of the skirt length down with one inch springs. If fullness comes in the 
Waist spring up with one inch springs to or above Chest Line, by dividing 
into J^ on the Chemise Waist Line and then the halves into one-half. 

You may spring at any point desired, if flat in front then only spring 
at the sides. It all depends upon the Model that you have created where 
the springs go. 

Modeling. 

To get a straight line neck, take one inch off of the Center Front and 
put same on fold of material or paper, then pinch in one inch dart in the 



Fitfy-two 



middle of your shoulder seam. Then add under the arm one inch more to 
your Block, then from that point draw down to the Chemise Waist Line. 

The change that is made in the Back Block is to place the tip of the 
shoulder seams together, then draw in the straight neck line, and take the 
portion off at the top of the seam. Add one inch under the arm as in the 
front. 

Take flat pattern and lay down on your material and where springing 
cause small ripples press these down and cut straight, should it take length 
from any line just add that much to it. Never take away where you have 
added the springing. Leave half inch or three-quarter inch seam when 
cutting. 

Take piece of paper with your thirds properly fixed and proceed to take 
off Model. If it is a third on the Sketch it becomes an inch on the pattern. 
Always take from the line of importance that is nearest to. 

In diagram this straight neck is one-third down from Line One or Body 
Line and one half of a third up in front. The panel is placed one inch above 
the Bust Line as that is the nearest important line. The panel measures 
one and one-fourth thirds, but as I have stated, doubling panels make this 
2^ inches. Put your panel straight and evenly placed on Line One or Body 
Line to the hem. The Back is done the same on Line One or Body Line, 
which I have also placed for you on pattern. 

Take your ribbon and place ly^ inches above your straight or loose waist 
line and 2^^ inches below. Slightly cross your loose waist line between 
your Line One or Body Line and your seam line and then straighten the 
front line of ribbon by trimming. Thread underneath your panel. It is 
2% inches from Line One or Body Line toward Center Front. In the Back 
it just goes under the panel. 

It is according to Fashion decree how long your skirt is made from the 
regulation Block. 

To make a one-piece short tight sleeve, put upper and underarm to- 
gether of Sleeve Block (Back to Back). Measure up from elbow for length, 
this is 6 thirds. 



Fifty-three 




■'S— 5 — J 
SEMI-FIT BLOCK 





Fifty-four 



Semi-Fit Creations With Refreshing 

Inspirations 

The Semi-Fit Line denotes a little more expression of a Silhouette Line. 
It is a Line accomplished by the most extreme Leaders in New Ideas. It 
is a line that almost in itself expresses a "Jeune Fille" fashion. 

The importance of an object is gained by satisfaction of Line, regardless 
of materials; therefore I have used Black and White Model. You want to 
distinguish by line value as much as possible. The object is to meet the 
human needs of the Figure. Line is an indispensable part of designing and 
demands thorough and scientific study. 

Remember the Silhouette Line of your Model (the Semi-Fit Line) is 
that Waist Line which is half way between your Normal and your Chemise 
Waist Line. 

In the Problem I have used value of line in panels. Using two materials 
but one value of line, making my lines harmonious. In the construction of 
panels I have expressed the same value of lines in two materials. Use the 
utmost simplicity with similar lines to bring in new ideas, always remember- 
ing value and laws of line. No matter how you reverse this the direct 
satisfaction of line value is maintained. Realizing this you have gained your 
object. Then you can turn your attention to the material to produce the 
Model, but remember your line value is first. 

Semi-Fit Blocks 

Take your plain working Block and turn your front back from the neck 
to the waist line, which is J/^ of a dart in. Place this on the fold of your 
paper or material. Measure out at your Semi-Fit Waist Line IJ/^ inches. 
Dot. Under the arm, measure out one inch and from that point draw a line 
down to the dot measured out from your Semi-Fit Waist Line. At seven 
inches below your Tight or Normal Waist Line and on hip line measure 
out one inch and dot. From the dot on the Semi-Fit Waist Line draw 
down to that point or dot and then draw down perfectly straight, 30 inches 
from the Tight or Normal Waist Line. 

Back. Measure out 1^ inches from the Semi-Fit Waist Line and then 
from under the arm draw down to that point. From the Tight Waist Line 
measure down 7 inches on hip line then out one inch. From the Dot at the 



Fifty-five 



Semi-Fit Waist Line draw down to that point, and then from this point 
draw down perfectly straight to hem, 3'0 inches from the Tight Waist Line. 
Draw Center Back down straight. 

Fullness 

In the case of Fullness, divide the hem line into Yz and then ^ again. 
Draw straight lines up to the Chest Line. Cut open and insert one inch 
springs, one inch at bottom tapering up to nothing. Back and Front should 
be sprung in the same manner. In separating your sketch for a Model be 
exceedingly careful in getting proper proportions and smart points on your 
Draft. Do not get a dowdy length or a badly cut space. On your sketch 
you must place the same properly and then measure from your important 
nearest line. You may separate your Block and spring as in Chemise Model. 
In the case of fullness your Design will show the number and amount of 
springs. 



Modeling 



Take your regular Semi-Fit Block and place on the fold of the material. 
Be sure that all of your important lines are placed in, such as Line One or 
Body Line, Chest Line, Bust Line and your Semi-Fit Waist Line. Your 
Block should be folded back from the neck to the Yz dart in point on Center 
Front. Use the thirds taken from the width of the neck, transferred it is 
1% inches. At the Semi-Fit Waist Line it is 1^4 thirds in toward Center 
Front. It is nearer Line One or Body Line so measure from that point. 

In the measuring of a panel you cannot gauge in thirds or inches, as the 
different sizes vary. It is gauged by getting position. You will note that 
the Black Panel sets Y2 way between Line One or Body Line and the Side 
Seam Line, so you place it half way on the pattern. In getting the folded 
over ends you always measure the amount which in the sketch is one-third. 
Add another one-third for the roll part, and then another one-third for the 
underneath portion. In this case making three-thirds in all, or three inches. 
The Black or Front Portion or Paneling is all drafted in one, also the Top' 
and Side Panels are all drafted in one. In getting the points that extend 
beyond, measure from your hem in thirds, and transfer in inches. Fashion 
denotes the length of the skirts. 

Back of sketch is transferred in same manner as shown on pattern. 



Fifty-six 



Sleeve with a folded cuff. 

Put your sleeve pattern together in the Bell-Shaped fashion, back to back 
with double measurements. This measures two-thirds; now make it four 
inches. Then you put two-thirds, or two inches, on each side of the seam. 
For the turn back cuff, first get the length by measuring down from the elbow 
and not up from the wrist. In this case it is 2^4 thirds from elbow; you 
know that it is 10^ inches from the elbow to the wrist on a Model. First 
add an inch as this cuff folds back, then you add 8 inches, as it is ly^ inches 
from elbow. For the flare we place one inch on each side of the seam. Draw 
back to wrist on each side. If you want a wider flare add an inch in the 
center. A spring is inserted in the pattern only by cutting open and pasting 
in a piece of paper one inch at the bottom tapering up to nothing. 



Fifty-seven 




Fifty-c'uiht 



Creation of Kimona Sleeve Models 

The Specialists in the Composition of Lines bring out elegance and 
simplicity with youthful lines. In your composition of lines so arrange them 
to impress the beholder. Every line must form a harmonious part of the 
whole and not a hit or miss treatment. Whatever their shape the line must 
be seen under similar conditions. For instance, in the use of a Kimona Sleeve, 
offsets conflicting lines that are brought in by designing a set in sleeve. A 
joined Kimona Sleeve of different material is not so severe as a blouse with 
set in sleeves. 

Your individuality determines your composition. In this particular case 
I have used a building line of pyramidical shape with two small and one large 
cuts. The triple idea and the usage of the kimono sleeve gave me breadth 
of space to work in. I avoided congestion. In designing you have an aim in 
view and by continual practice you will gradually broaden in your Creative 
Art. 

In your conception of a smart design you may either work upon the lines 
of a bib, yoke inset, cuts as in the Model or possibly a new neck line with the 
edge of the sleeve and waist line in perfect harmony. 



Pattern Making 



First take a piece of pattern paper or tissue paper and place Back and 
Front Blocks, shoulder to shoulder, so that you may fold along the slope of the 
shoulder. Continue your Line Three or Chest Line which is on the Front part 
of the Block. Redraw it in on the front. Placing points A, B and C on Line 
Three. Between B and C divide space into one-half and from that point 
draw a straight line down to Chemise Waist Line. This is your underarm 
seam. Measure down on Center Front four inches and draw in Bust Line 
crossing the underarm seam. 

For the regular Kimona Sleeve I would measure down about one inch 
from the Chest Line on underarm seam and then draw the width of my sleeve 
parallel with the top fold down to the wrist. There is no rule governing 
the width of your Kimono Sleeve. It will be governed by your Designing. 
To get the length of your sleeve you measure from neck across shoulder 
down to elbow and then from elbow to wrist. Cut the Front and Back under 
arm side seam the same. 



Fifty-nine 



Take tracing wheel and trace through Line Six so that it can be used in 
the back. Now turn your work over and draw a Una with your Blue Square 
from the Back of the Neck point to. a point where the length of your back 
rests on the traced through line. Cut off at Chemise Waist Line Back and 
Front. 

The Center Front is cut out the same as the Block, the line that is turned 
back from neck to Yz dart in. Trace or draw on all important lines, such as 
Line One or Body Line, Chest Line and Bust Line. You may also cut your 
Kimona Block along the fold of shoulder seam. 

To add your Chemise Silhouette Line, you use half the distance between 
B and C. Then at your Chemise Waist Line measure out two inches and 
extend from under the arm down through that point and seven inches beyond 
Tight or Normal Waist Line. Then draw straight to hem, 30 inches from 
Tight or Normal Waist Line. 

Do the same on the Back. 

To add your Semi-Fit Silhouette Line, you use half the distance between 
B and C. Then at your Semi-Fit Waist Line measure out one and one-half 
inches, seven inches below Tight or Normal Waist Line measure out one inch. 
Draw from under the arm down to the point opposite Semi-Fit Waist Line 
and from that point down to the seven inch point and then down straight to 
hem. Make the hem 30 inches from Tight or Normal Waist Line. 

Do the same on the Back. 

It is necessary to add Springs to all Blocks, only eliminated in cases 
specially designed. You must add your springs to your Three Blocks, both 

Front and Back. 

On the bottom line divide into one-half and dot, then on each side into 
one-half, making three springs. Continue the cuts for the springs up to the 
Chest Line. The Springs are one inch at the bottom tapering up to a gradual 

point. 

There is a difference in necks. There are Round Necks, Square Necks 
and Straight Necks. We have the Round Neck upon the Original Block. A 
Square Neck is very easily applied, but the Straight Neck is more difficult. 

Straight Neck : Take one inch off Center Front and place this upon your 
fold of paper or material. Then half way on your Shoulder Seam take out a 
dart of one inch. It is now necessary to add one inch under the arm and draw 
your underarm line down to Waist Line, which is Normal, Semi, or Straight. 



Sixl's 



Your Shoulder seam is smaller now. Match up the back, but do not take any 
darts out. Take from the neck and add your inch under the arm. Problem 
Three for Round and Square Necks and Number Four for Straight Neck 
diagram. 



Modeling 



Lay first your pattern upon your paper or material and proceed to slope 
off your design. It is well to cut your Model first in muslin, baste and try on. 
In transferring your design from Sketch to pattern you measure from your 
main lines, which are supposed to be very plainly placed. The thirds in the 
sketch become inches when transferred to pattern. The points have been 
plainly marked on your diagram. Remember previous rules as to doubling 
for cuts, also take your Model cuts from important points. 



Sixty-one 




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5"i>*j»-two 



The Mechanics of Fashion— Introducing 

Coat and Skirt 

A Line which formerly was figure fitting in an Athletic sense, has now 
under Mechanical change become straighter. This line, in a two-piece suit 
(Coat and Skirt) on account of its pendulum effect would suggest Sports 
Wear. The principal of which is easiness of line and is of relative motion of 
Grace and Character. In Sports Wear, moving powers would be more or 
less in consideration, so in conceiving an idea, the problem would be to bring 
out straight, easy and non-resisting lines. Adjust your line sense to produce 
a multiplied effect of Mannish yet Feminine technique. Bold yet yielding to 
Feminine desires. 

In this case the Design is of the very simplest effect. It is executed by 
the Scarf idea and drafting onto the same a pocket, a newer idea. Just face it, 
turn it back, and stitch it on. We have a Model Sportsman-like and yet not 
too extreme. The Skirt is a very simple affair of a striped sports stuff. 

Pattern Designing 

Coat Block : Take your Pattern Block and lay it on your paper or mate- 
rial about one inch or so in from the edge of your material (Center Front). 
Under the arm measure out one inch ; at the Straight Waist Line two inches. 
From under the arm and through the two-inch point we draw a line down 
nine inches further than the Tight or Normal Waist Line. Under the arm 
we measure down one inch for a larger arm-hole because it is a Coat. We 
curve in free hand our arm-hole. In springing or adding fullness put in regu- 
lar springs. Two of these springs may extend higher than Chest Line. 

Back : You do not add the inch out under the arm, but you measure out 
your two inches at the Loose Waist Line. You also make your arm-hole one 
inch larger. From under the arm you draw a line down through the two 
inches at the Loose Waist Line, and extend nine inches below the Tight 
Waist Line. In springing for fullness in the back, divide into one-half and 
one-half on each side, making three springs. You spring two of these up and 
through the Chest Line. You then add three extra springs making six 
springs in all for the Back. 

Sleeve: To draft a large sleeve measure around your arm-hole and dot 
in that amount in the perforation on that part of the Red Curve that is pre- 



Slxiy-three 



pared for the sleeve. If you have not the amount on curve, just continue on 
same slant and dot every half inch until you reach the given amount. All 
other principles are used as per sleeve rules and regulations. 

For a good Sports Sleeve — Cut the Sleeve Block at the elbow and separ- 
ate one inch in front, as per cut for Sports Sleeve. Do same in both Back and 
Front. The width of the sleeve is optional. Be sure to allow plenty of room. 

Skirt: Take your plain working Block and place on paper or material. 
Measure out on your Normal Waist Line at hip one inch and from that point 
draw down seven inches, touching hip curve, from there down perfectly 
straight to hem of skirt, on a block should be about 30 inches from the Tight 
or Normal Waist Line. For Waist Line take your V 3 of your Red Curve 
and put it at the one inch out point of the Waist Line and draw your Waist 
Line curve towards the front. 

To add fullness divide the bottom line into one-half and then one-half 
on each side of this point. Draw from these points up to Waist Line. Cut 
the line open and insert a piece of paper spreading one inch at bottom and 
tapering up to nothing. Spring ever3rthing by the rule of one inch. 

Back : Take your working Block and place on a piece of paper or mate- 
rial. Then measure up in Center Back ^ of an inch. At your Tight Waist 
Line at the hip measure out one inch, seven inches down from the hip line 
measure out another inch. From the Waist Line inch draw down to that 
point and from this point straight down to hem. Make length 30 inches from 
the Tight or Normal Waist Line. For the curve of your Waist Line take V 3 
of your Red Curve and place on the Center Back and draw down the curve 
towards your inch out on side seam. In adding fullness for your block, 
divide the bottom line into one-half and then one-half on each side, making 
three springs in all. Draw lines up to Waist Line, cut open and insert a piece 
of paper spreading one inch at the bottom and tapering up to nothing. 

In making a full skirt you can make your springs go right through if you 
wish on the first springing, making one inch at the top and one inch opening 
at the bottom. Add as many springs as you desire. 

If you want a peg top skirt you add more springs from the top down, 
making your seam lines tapering in, or if you wish a flare at the bottom add 
more springs to the bottom, making your side seam lines tapering up. Spring 
3/^ length up or down. 

It is well to know now that you cannot get springing by simply adding 



Sixty- four 



it to the sides. You have to open and insert it. It is done in the pattern only, 
paste the paper springs in or baste the material springs in. Use springs in the 
Pattern only. 

In the case of gores, put front and back together; take and divide the 
amount of gores on the Waist Line. From each point measure down nine 
inches, and one-half inch on each side, draw to opposite points so that the lines 
will cross and then continue onto the hem. Make as many gores as desired 
but divide evenly on the Waist Line. 



Modeling 



Take your regular Coat Block, as the Scarf extends only two inches over 
from Line One or Body Line. It is only necessary to place it at that point 
on the edge of your paper or material. Lay the material double if you can get 
it out. Use straight shoulder as it is preferred. For making Shoulder Seam 
directly on top of shoulder, take one inch off on Front Block, draw straight 
shoulder seam and add one inch up to Back Block, drawing straight shoulder 
seam. 

Use regular Sports Sleeve. 

In case of drafting for the Scarf take your regular plain Block, with all 
important lines on. This Scarf falls straight down Line One or Body Line. 
It measures one-third on each side of Line One. As you have been advised, 
all panels, etc., are doubled so when transferred onto pattern it is two inches 
on each side of Line One, making the full width four inches. It is two inches 
below the edge of the coat and eleven inches from Tight or Normal Waist 
Line. In measuring for the pocket, it rises one and a half inches above 
Loose Waist Line and two and a half inches below Loose Waist Line. In 
getting the width of the pocket you know that the Scarf is four inches across. 
We have to add an inch for the turn, making five inches. It extends three 
inches over the inside line of the Scarf, so total is eight inches. The outside 
edge of the pocket is one inch longer. We add same and taper to the inside. 
It is faced and turned back for effect. The edge of the scarf is fringed. 

In drafting a Collar of this design, you take your pattern and measure 
around the neck. Draw a straight line to that length. Divide it into one- 
half and whatever the back of the neck is, measure up that amount. If it is a 
size 16, the Back of the Neck will measure IY2 inches. Measure up lJ/$ 
inches. From that dot draw a straight line the width of the collar. The 



Sixty-five 



measure taken in thirds is five thirds. Line is five inches on draft. Draw 
straight up five inches from end points. From top measure out 1% inches 
or whatever the Back of the Neck is. Then from the neck line of your collar 
draw up to those points. Curve the top edge. In this particular Model there 
is a slight fullness in the back, from the neck line up. Spring from the bottom 
line up in center and one inch on each side. Slant these two springs slightly 
and spread springs one inch at the bottom and taper to nothing. 

Cut with a half-inch or a three-quarter-inch seam. 

In this particular Sports Skirt make your three springs directly through, 
and then add three more springs that go directly through. Making six 
springs for front and six springs for back. 

For drafting the cuff measure around your sleeve on the pattern. Draw 
a line to that length. Make your cuff two inches wide, as it measures one- 
third on the Sketch. Make cuff double and put on a one-inch band. Round 
comers. 

For Belt measure around loose waist line and swath with scarf. 



Sixty-six 





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PANELS CAN BE 
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13. 



IX 




RAISE AN INCH 
/ ARD POINT .»' 
1^' 




Sixty-eight 



Essence of Simple Line Balance 
Relation of Line 

We come into true balance in the way of designing, in which the force of 
both sides is suspended for graceful movement. The same Silhouette Line is 
obtained by equalizing your balance on each side of Silhouette. 

We find that it is essential to keep our work well connected. Do not 
cut or strip your side lines, but hold to fine line balance. A good example 
of this is the taking of a straight piece of material, drape straight across with 
sufficient end lengths that hang in a cascade formation on each side. In this 
case you would naturally compare both sides of your silhouette and design 
your entire Make Up in sensible balance. 

In fine balance use precaution in arrangement of even drapes and hang- 
ings, so your designs will have an even number of swings on each side as 
odd numbers will never be balanced. 

The captivating quality of a design is lending and converting individu- 
ality to the Creation. An alluring effect is gained through rich and attractive 

line. 

In Designing according to formation rules we must assemble similar 
lines. We bring this into our Designs by Relation of Line. In Bodice Design 
I have a Semi-Fit Line. There is no other formation of line so acceptable as 
the character expressed in the angles of cascade lines. These formation lines 
can even be used in reversed order. I might have designed the Bodice first 
then the Cascade. It all depends on the relation of line and its proper 
formation. 

In designing the White Salome Velvet, I have used the extreme decollete. 
The lines of the Bodice or the top part are upon the Semi-Fit Lines, extend- 
ing to a nine-inch point with only four inches at the sides. Across the front 
and upon a line straight ^cross from the four-inch side seam point, I have 
taken the straight of the material with ample extensions on both sides to 
make cascades. These I attached on the side seams, cutting out the point 
nine inches in on this piece of material. At the bottom I cut up one inch in 
the Center Front and taper to the ends. This is the simple way in which the 
front is draped. The train is draped by taking a piece of material ample in 
length. The width is sufficient to rest one inch from side seam on the end of 
the Bodice and connects with the line of the decollete. In the center it is 



Sixty-nine 



split down to below the knees to still carry out the pointed balance line. It 
then falls upon the floor in a solid mass. Carefully study this formation and 
you will note the very true collection of balance line work. 



Modeling 



Take your regular Drafting Block (any size that you prefer) and place 
upon the fold of your material. You always turn to your seam line first. 
Measure out one inch under the arm 1^ inches out from the Semi-Fit Waist 
Line, and seven inches below Normal Waist Line one inch. Connect these 
points by side seam lines. Your decollete neck line is one inch higher than the 
Bust Line, passing Chest Line one inch beyond Line One, and the width of 
the shoulder strap is two inches up from the tip. Under the arm it is two 
inches lower. Lay in the neck and arm line curves. The extension below the 
waist front is nine inches and on the side seam four inches. Cut out with a 
J^ or a 54-inch seam throughout. Use your straight line shoulde;r. 

Back: Follow your same silhouette lines as per your Block as in the 
Front. All proportions are the same as Front as to width of shoulder strap, 
under the arm and side seam lengths. The back decollete drops to one inch 
in from Line One on Normal Waist Line and then connects with side seam. 

Take your length of material for center front and allow at least a 12-inch 
extension from side seam on each side for the fall of the cascades. Place it 
even on center front on a straight line right across from where your Bodice 
side seam ends. The^ cut away your point with at least a three-quarter or 
an inch seam. The end of the drape is tapered up one inch shorter in the front 
than the sides. Allow about a three-inch hem to be faced back. In getting 
the width of the panel and train, measure across your Semi-Fit Bodice back 
on the bottom line and make it the width within an inch of the side seam 
line and the decollete line. Double the same in measurement, as you have 
two sides. 

Your foundation lining is the French Bias, taken from your Lining Chart. 
Cut out neck and under the arms the same as outer bodice, but make shoulder 
strap one inch in width. 

The decollete part of the back is cut on the same lines as the Back 
Bodice. Make shoulder strap one inch in width, the same as Front. The 
Center Back decollete is three inches above the Waist Line and takes the 
curve up to the shoulder. The opening is in the back. 



Seventy 



The skirt is a regular peg top skirt, that is a regular Block sprung three 
times from the bottom up, and four times from the top down. Each three- 
quarters the length of the skirt. 

Make the lining that is underneath of white charmeuse. The decollete 
part of the back in white Salome Velvet. The Skirt is of White Salome 
Velvet. The Gown is trimmed with pearls. 





Seventy-one 




Seventy-tzvo 



opposite Silhouette Logic 

E:tpression and relation of Line on same Model is produced by different 
Design of Line on each side (Contraries). 

The treatment of such a Model must be accurate. If the opposite sides 
differ in both quantity and quality, it will be contradictory in design. If we 
logically carry our Lines with balance treatment, relative and still expressing 
a difference, we have made no falsity of Line. 

Work now under the progress of thought and endeavor to design with 
Psychology of Line. Give equal value to your different sides, still do not 
create them so different that the sides will have the effect of two frocks in one. 
Your purpose depends upon the Silhouette that you have created in mind's 
eye. Naturally if you are working on opposite silhouette your thoughts would 
be the sides or side lines. The theory is to apply simply and scientifically. 

You must distinguish your sides with a two-fold idea. Bear in mind that 
your judgment independent in treatment must bring your single object out in 
opposite independence with mutual relation. 

Direct judgment of right and wrong lines can be more clearly expressed 
here. 

The Problem shows the Lines are based upon the Chemise Silhouette. 
I am calling your infmediate attention to the fact that the Sleeve (Kimona; 
is cut entirely with the Body part of the Model or Slip of this Creation. On 
one side the sleeve is boldly shown for its simplicity and newness. The sleeve 
strips are threaded through the garland of flowers at the waistline and then 
continue down between the cascades. This side of the Model is finished with 
two cascades below the waist. We have now completed one side of the 
silhouette. While the other side is treated logically, using above the waist a 
small cascade drop. Both sides have the streamer sleeves but the cascade \v\\\ 
partly subdue that side. The strips of the sleeve on the opposite side han,^ 
loosely below the waistline, and slightly tacked to the end of the cascade 
above the waist. 



Modeliitg 



Take a regular Kimona Chemise Block (unsl'ruiig). To put in the neck 
of this particular design, take one inch in off the front and lay on the fold of 
your paper or material, pinch in a one-inch dart on the shoulder, and under 
the arm you add one inch. This is a regulation method. Now see that 



Sevent^'-three 



all important lines are properly placed for the taking off of your Model accord- 
ing to the rule of Thirds. Your sleeve formation comes first. Instead of 
drawing your line under the arm down to the Chemise Waist Li^e only, 
continue on with this line, to the hem of the dress. This is the line that you 
have added one inch under the arm. The width of your sleeve is four-thirds ; 
transferred is four inches. You draw your outside lines straight with the line 
under the arm that you have just drawn. Then you draw your top or sleeve 
portion of this Model straight with your sleeve edge. Cut up imder the arm 
from the Chemise Waist Line to arm-pit. The strip belonging to the sleeve 
is separated from your Chemise Waist Line. You will now draw your regu- 
lar chemise lower portion of your Block. You spring only your Chemise 
Block by separating into one-half between the Center Front Line and your 
Side Seam Line, Dot, and then into one-half on each side of this dot. Draw 
straight lines up to Chest Line, open and insert your spring by spreading one 
inch at the bottom and tapering up to nothing. The neck is t£^en off as 
follows: Center Front from Chest Line IJ^ thirds up; Body Line or Line One 
one-third up and a three-quarter-extension over Line One or Body Line. Half 
way up on Line One or Body Line it comes within one-half of a third and 
on the shoulder from Line One or Body Line 1^ thirds. These all trans- 
ferred are inches. 

Back: The plans of your Back are worked out in the same rules as 
applied to the front. Do not forget your regulation rules for the straight neck 
with matching the shoulder tips or Kimona Sleeve tips and taking your inch 
off at the top of your neck, add your inch imder the arm. Follow your rules 
for the sleeve and side lines the same as the front. 

This imderslip is made of crepe. 

Your outer garment of paneled effect is worked over the same block 
using the same neck opening, measurements, etc. Now, for your different 
silhouettes, remember your ideas are different. For instance, the dotted line 
marked One (Right Hand Side), connecting the tip of the shoulder to the 
Chemise Waist Line is slightly curved. You can draw this in free hand or 
by placing V 5 of your Red Curve and running that curve up from the Waist 
Line. This is your Right Side. Your Left Side has the projection, which when 
cut will fall softly into a cascade. Measure out four-thirds and the projecting 
point is up 1J4 thirds above the extension of the Chemise Waist Line. From 
this point draw directly up to the tip of the shoulder, marked Two (Left Hand 
Side). The rest of your Block is your regular tinsprimg Chemise. 



Seventy-four 




Your Back Right and Left Sides are planned and cut the same. 

Cascade : Measure down the width of your cascade in thirds. This one 
measures seven-thirds. Take your Blue Square and draw a top line and 
length line, as much as it is to the hem of your dress. Then from the end of 
the seven inches out draw down to the end of your line. Drop down on this 
line three inches, now draw up to the corner. This line is the top of your 
cascade. Between the end of this line and the end of the cascade you divide 
into one-half and dot, and then on each side of this dot you divide into one 
half and dot. Draw lines from dots up to the comer. Open and insert a one 
inch spring, spreading one inch at the bottom and tapering up to nothing. In 
cutting this spread out the line where the springs are and any puckering in 
your pattern on the other lines press down and make a tight dart. Cut the 
line above this dart straight as if it were not there. 

The top portion of this Model is to be made of Velvet with a Fashioned 
Girdle of Roses. 




Seventy-five 




Seventy-six 



Line of Suggestion 



Often another Idea is created by Suggestion. It is the experiment of 
bringing onto our Models the outlines from some other direct object. It is 
the association of lines that have the advantages and usages. They are pre- 
cisely different but at the same time might express their origin. 

Your mind can easily pass from one thing to another gathering sugges- 
tions, cultivate good sense and develop similarity of ideas. These conceived 
ideas by the proper following up will form objects and designs. 

In the Problem given I received the Line from a Lamp Shade, thus the 
association leads to the effect through the connection of ideas. Do not carry 
a too exact reproduction but just the idea to a certain extent (a similarity of 
line). Through your mental connections you will gradually form lines with 
the knowledge of your Architectual Anatomy. Be able to place same in 
proper position and advantage upon the Body. The Laws of Association 
are of the greatest importance and factors in Designing Art. 

Lines of suggestion are produced by looking for Ideas in the simple forms 
of association by transferring your sight sense from one object to another 
with the proper grouping. Form your sense of discrimination in order to 
drop the heavy parts, leaving the delicate silhouette lines. A gentle expres- 
sion as in the Lamp Shade Gown. 



Modeling 



Take one inch off the front of your Block and lay that on the fold of your 
paper or material, as this is a straight line neck. Pinch out your one-inch 
dart on the shoulder, and under the arm you add your one inch. From this 
point draw down to your waist line. The point of your shoulder is ^ of a 
third up. The width 3/^ of a third. Then draw straight across for the opening 
of the neck. The Back is placed in the same manner. Put the tips of your 
shoulder together, so the inch will come out at the top of the neck. In curv- 
ing both back and front get the curve of the arm hole and then straight down. 

For the bodice (underneath) use the same Block, only take the remainder 
of the Yi dart off of the front. You remember that you took % ot a dart in 
on your Tight-Normal Waist Line. Now take the other y^ of your dart in. 
For the Back use the regular Block. 



Seventy-seven 



Use the bottom part of your Block or Peplum of your Block. Take the 
front and divide into Yz, dot, and then one-half on each side of this dot, making 
three springs. Open and spring up to waist line, spread and insert a piecei 
one inch in at bottom tapering up to nothing. Do the same with the Back. 
Put Back and Front together after they are properly sprung, touching sides 
at top and letting same spread at the bottom. Then cut one piece Circular 
Sprung Peplum, seam back and front. Gather onto a steel wire. Hang lace 
from the edge of this. 

Use the regular peg top skirt underneath. It is made by taking your 
regular Skirt Block that has been sprung three times, and on the waist line 
divide into one-half and dot, then take and divide into one-half on each side, 
draw lines down 54 t^^ length and open and spring, inserting one inch at the 
top tapering down to nothing. In like manner make the Back. 

The Model is made of Black Duchesse Satin and Metallic Lace (Silver). 



Seventy-eight 



x 




Eighty 



Theme of Line 



An established fact is that the Theme of Line or Knowledge of Line is 
derived from something already suggested. An old saying "Nothing New 
Under the Sun"; in this case it is making something new out of an old idea. 
Your Base Influence of Line is taken from Historiccd Compositions. The 
variations are to be brought up to a modern state. It is the evolution of 
Historical Silhouette Lines or Present Day Influence from some Country. 
Should your Inspirations come from Periods modernize the line but still 
enlighten the Model with the same atmosphere. For instance the Wedding 
Gown, Bouffant in Line — Spanish Influence and Adaptation. Adjust your 
Line Form to the Present Day Ideas. Reproduce your work with relative 
values but do not make your lines an exact duplicate; vary with your 
Individuality. 

It is permissible to have the skirt a copy of lines with a modern bodice or 
just the opposite. Some influences are reduced in design while others are 
exaggerated. The responsibility of the Design depends upon the interpreta- 
tion of the Designer. A Trend is a Style of Line that is adapted by a Major- 
ity. For instance the Spanish Influence of this Season is one of the popular 
Trends. 



Modeling 



Take your regular Two-Darted Lining Block and convert it into a 
Kimona Sleeve Block. This is done the same as any Kimona Sleeve Block 
is made up. Refer to your Kimona Group. The Body Part is made with 
Two-Darts. 

To make a one dart with a straight neck, proceed as follows: Take one 
inch off of the neck and lay this on the fold of your material or paper, pinch 
one inch dart in center of Shoulder Seam and add your one inch under the 
arm (this is your under arm side seam). Measure in from this side seam one 
dart, dot, then draw line up under the arm-pit. This is one dart. To have one 
dart in the center of the two darts is as follows : On the Bust Line between 
the tips of your two darts, divide into one-half, dot. Square off directly below 
that on Tight Waist Line. To square off means to get your point directly 
underneath the point above. Take one-half of your dart on each side of this 
point on the Tight Waist Line. Take the Red Curve and put V 5 face up 



Eighty-one 



and draw in your right side and V 5 face down to draw in your left side of 
your dart. The dots denote the route of the one darted pattern. For your 
straight neck measure down one inch in front and one and one-half inches on 
the shoulders. Sleeve measures two inches under the arm. 

The Back is drafted from yoiu- regiilar straight neck Kimona Block. It 
is made up in this draft with the one inch added under the arm. Match up 
your sleeves so the inch will come off at the top of the shoulder, as in all pre- 
vious straight necks. Lay patterns together and get line of neck, then just 
straighten neck line across. Sleeve measures 2 inches under arm. 

All formation rules are used in drafting this Back of Kimona Block as 
tracing through Line Six to obtain the position for Center Back, etc. 

Skirt : Take your regular Skirt Block that has been sprung three times. 
Measure out nine inches with the same slant as the Waist Line of your skirt. 
Then draw your new side seam down the same slant as the side seam of your 
block. Divide your added portion into one-half, dot, then into one-half on 
each side of that and dot, then in between each one of these points divide into 
one-half, dot. Now draw lines down Y^ the length of skirt. This makes six 
springs. On your regular skirt portion divide on the Waist Line into one- 
half and dot, then on each side one-half again, dot, then in between one-half 
again, dot. Now draw lines from each point down ^ the length. This makes 
six springs. Open and spring one inch at top in each line, tapering to nothing. 
If you care to you can just open these and pin onto another piece of paper and 
cut out a new pattern. Be sure and keep the marks of your springs. The 
bottom part of the skirt is made by springing every other one of these springs 
up to the Waist Line. 

The Back is drafted the same as Front. 

This is the only rule that properly and evenly balances a Bouffant Skirt. 
To get the proper effect you will have to resort to springing for Chic Lines, 
After the Model is properly put together and ready to hang, cut away the 
portion that is draped in lace. Take this piece and lay on the lace which has 
been properly pinned in for fullness. Cut the lace out with the proper exten- 
sion under the front and back edge. Lines across diagrams show how por- 
tions for lace is cut away. 

Now make a wire extension for your sides to be held in place. Take a 
piece of tape for waist, so that it will open in the back. Put a piece of 
elastic around hips seven inches down; fix so that it will open in the back. 



Eighty-two 



Take a piece of silk covered edge wire, bend so that it will extend nine inches 
out on the hips, and about four inches over on back and front hips, so that 
you can tack it down on the elastic with good support. Take three pieces of 
tape and put in supports from the wire up to the waist tape. These extensions 
are always used in the support of Bouffant Lines. 

For your lining of this Model make your pattern from the same Bodice 
pattern using Crepe de Chine (white). For the skirt underneath use a plain 
skirt Model (Crepe de Chine). French Seam throughout. 

The material used in this Model is Satin Faced Heavy Crepe (white). 
Princess Lace interlined with Crepe Georgette (white). Orange Blossoms 
and LiUies of the Valley edge the skirt where it is cut away and white satin 
faced ribbon forms the Heart on the side. The Court Train is of Silver 
Brocaded Satin, and has an extension on the floor of five yards in length. It 
slightly tapers from the shoulders, folded in to the width of the shoulders, 
then gradually extending and flaring down to almost the width of the Brocade 
at the end. It is slightly rounded at the end starting about four inches up 
on sides. It is lined throughout in White Crepe de Chine. 

The Court Train is harnessed on by silk ribbon. Take and run it over 
the shoulders and across in front (from opposite sides), connecting on piece 
around waist. Come straight down from shoulders to waist line in back, 
securely tack. Besides tacking the train to this, hook on the shoulders of 
Bodice. The harness worn underneath tied about waist will gracefully carry 
the weight of the Court Train. 

The Bridal Veil is made of Bridal Net. With Coronet of Medallion of 
Lace Heart Shape, and a Pearl Bandeau. 



Eighty-three 




Eighty-four 



Discovery of Line 



Models when they have characteristic lines almost speak in the language 
of the Country they represent. The Discovery of Line is of practical import- 
ance. The surface part (Front and Back) of the Design justifies sufficient 
co-operation to the line formation. Ornamentation to the actual wearing 
ability suggests modern discovery. It is the capacity of the Designer to 
present an absolute likeness. It has the faculty of comparison to be just 
"Up to Date Different". The sensitivity of difference is probably bringing 
the idea from a Male Costume and introducing it into a Chic Model iot 
Milady. 

In your designing you must be able to discriminate and limit your line 
conditions. Do not combine line discovery from one source or Country with 
that of another. Make it purely Russian or Chinese or from wherever you 
have gathered the valuable lines. 

The Russian Discovery given in this problem comes in general lines, but 
sets forth no exactness. The suggestion of lines might have originated from 
a Drosky Driver's Coat or a specific Period. It bears strict resemblance 
through line masses and formation. This Coat Frock is a valuable determina- 
tion of the Laws of Designing (front, sides and back) keep vibrating this 
idea. Other unrelated lines because of their saleability and popularity may be 
brought into the Design ; for example a Surplice Front, High Collar and large 
Kimona Sleeves. The fullness of line up and below the Waist are strictly 
the Russian discovery of line. 



Modeling 



Take a regular Kimona Chemise (with round neck) that has been prop- 
erly sprung three times (Front and Back Blocks). Cut it straight across at 
the Chemise Waist Line separating the Blouse and the Skirt parts of the 
Block. Take the upper portion and spring up three more times from the waist 
up to Chest Line. Divide this line into one-half, dot, then into one-half on 
each side of this dot. Making three springs. Insert a one-inch spring, one 
inch at bottom tapering up to nothing. Take the Skirt portion and spring 
from the top down three times, divide this line into one-half, dot, and then on 
each side divide into one-half. Draw lines down three-quarters the length, 
open and spring one inch spread at top tapering to nothing. 



Eighty-five 



Be sure that your Important Lines are put on the pattern, such as Line 
One, Chest Line, Bust Line, etc. Take a piece of material or paper and fold 
so that it is double, as we are going to draft a Surplice or a fold over Model. 
Turn your attention to the extension side. This is the side that laps over and 
must be drafted first. The end of the Surplus Line on your Waist Line comes 
within 1% inches of your side seam, so measure that amount in on your 
pattern. On Bust Line three inches from the side seam. This is nearer your 
side seam than your Line One so it is taken from that point. On Chest Line 
this line comes within three inches of Line One. But it comes on the right 
side of the Line so we still continue our Surplus Line. This line continues 
up to one inch over on left side of Line One at Neck. Trace through your 
Surplice Line including the round neck. Also trace the Waist Line. 

Take this piece of material or paper that is turned under and turn it out, 
as this is the Surplice Side of your Model. 

The Sleeve is made regular length, add one inch out on each side and 
slightly curve seam, divide into one-half and add spring up to elbow. 

To draft standing collar onto the Model, draw straight line up from your 
shoulder seam 5 inches, in center front draw straight line 5 inches up, add 
out one inch on each side. Then slightly curve down to the neck line. Divide 
into one-half on the top Une and add one inch spring, spreading one inch at top 
and tapering to nothing at end. In putting this on the fold of the material 
of paper just straighten this back after it has been sprung, putting a dart in at 
the neck line on shoulder seam, then add what you have taken out above. 

Of course, in this Model your front is Surplice. Put your other side on 
and add the extension over as you would in any Surplice. 

The Surplice of Skirt is drafted in same manner. It is IJ^ inches over 
from side seam; draw straight down to an extension below the hem oi 1% 
inches. When you turn this out taper it aroimd to side seam on opposite side. 

The Back is drafted in the same way. The Collar is drafted on by draw- 
ing a line from the Shoulder Seam up 5 inches, then out one inch. Draw a 
curved line back to the Shoulder Seam and Collar Line, Spring one inch in 
center back. At this inch point place your Center Back on straight of mate- 
rial as shown in diagram. 

In placing on the trimmings. You get the width by measuring up one 
inch on Shoulder Seam from point of shoulder. Draw a line down parallel 
with Line One, which is the inside line. Measure your back from the 



Eighty-six 



Shoulder to the Waist Line (on Pattern) and add that from shoulder for 
length of Scarf. This Scarf hangs loosely from the end of the Surplice Line, 
over the shoulder and down the back, as seen in the Show Window behind 
the Model. 

Below the waist the band continues down within three inches above the 
hem with the same width as the Scarf. The Band continues around the Model. 

In putting this Model together at Waist Line use a heavy cording of the 
material. 

The Model is made of dark blue silk Duvetyne with Scarf of Kasa Cloth. 
The embroidery, is of dark red and blue wool worked on in old gold threads. 
The fringe at the back is 15 inches long and made of the same old gold thread. 

Cording: Cut length of material on the bias two inches wide. Place 
cord at center, fold and sew close. 

Elastic Waist Line: Pin straight band any width on under side of 
material. Sew at each edge and draw elastic through. 



Eighty-seven 




S s s s s s s 

lOTI^AES 



Eighty-eight 



Influence 
Sensation of Line 



By Mutual Relation we shape and form something else. Through the 
"Art of Design" we practice this extensively. External Lines have valuable 
power in points and lines for Inspiration. A Sensation of Line is to receive 
it from another direct object that has excited you to use it on a Model. 

The shape of the Problem shown is taken from a Basket. We apply only 
outlines of objects. 

Perceive things that have quality of Line then your structural ideas will 
express them in design. Your rights of judgment must be fixed and defined, 
not to extreme, but bold. 

Recognize and distinguish, through Line Formation, outlines of delicately 
formed "Objects of Art", such as the lines of the French Basket. Through 
design it is recognized only by outlines still wearable in effect and saleable in 
its simplicity. Remember in modification of the object the influence of the 
object must predominate. 

Modeling 

Take your regular working Block. Lay on the fold of your material or 
paper, proceed with your regular working thirds. Remember what is third 
on the sketch becomes an inch on the pattern. You will use the Normal 
Waist Line. It is the Basket effect that we will draft, Cut 2. To get the 
projecting point we must measure out three inches, follow dotted lines, then 
up three inches, then draw down to Waist Line. Preparing for springing to 
get the Basket effect, you add one inch on your seam line, tapering into the 
Waist Line, then two inches up from the original seam you add another 
spring. Cut down to waist point, spreading one inch at the top tapering to 
nothing. Measure up one-half of an inch on the shoulder, the width of your 
tie measures one inch, so doubled makes two inches. This is the width of the 
shoulder strap. The extension measures two inches; you also double for 
length to tie over — making four. Curve your line down to the point of the 
Bodice. The Front portion drops two inches below Bust Line. Make the 
curve from shoulder down to this point, pass one inch on right side of Line 
One. This is on the fold of the material or paper. We cut open thei center 
spring straight to the waist line and insert a one-inch spring, spreading one 



Eighty-nine 



inch at the top tapering to nothing. Two inches from center spring on each 
side we spring, making three springs in front. 

The Back is done in some manner. 

The Bodice or underneath effect is cut from a straight dartless or working 
Block. You open and spring this Bodice three times, by dividing into one- 
half on waist line and dot, then on each side divide into hcdf , open and spring 
one inch. 

The Back is done in same manner. 

The fullness is drawn in on an elastic. 

The Skirt is very full top and bottom and is very different in design of 
making than any other skirt given. You take your regular skirt block thai; 
has been sprung three times from the bottom up, as original skirt blocks are. 
Keep on your Block your Chemise Waist Line (front and back), as after this 
skirt is all properly sprung, you are going to cut off at the Chemise Waist 
Line. You divide your Normal Waist Line into one-half, dot, then on each 
side of this dot you divide into one-half. Between each one of these points 
you again divide and mark. Eight times in all. You draw lines from each 
one of these marks down 3^ the length. Open and spread one inch at top, 
tapering to nothing at the end. The bottom of skirt is sprung ten times. You 
already have three springs from the Original Blocks. You divide again into 
one-half, dot, then divide again into one-half on each side of this point and 
dot. In between divide again and from each one of these points you draw a 
straight line up % the length and spring one inch. 

The Back is done the same. After all the springing is done you cut off 
at the Chemise Waist Line and use that as your Waist Line. Lengths of 
all skirts are governed by the prevailing styles. 

In taking off the side panels we get the width of the same by measuring 
across at the bottom in thirds. Then double the amount. Nine thirds doubled 
is 18 inches when transferred. In placing this on your pattern you get your 
position from the distance in thirds from your Line One or Body Line. 

The three French Bows are placed one in center and one on each side of 
the panel. A loop is made by pulling through a knot allowing one long end. 

The material of this Model is Brocaded Satin (Flower Design). The 
Ribbon trimmings are of French Blue and Purple. The interlining of the 
Basket effect is of Blue. Strictly French coloring of the flower design for 
the material is used, or a Gold or Silver Brocaded Material may be used. 



Ninety 



FOLDED CASCADE 



CONNrCTS ON BO\M 




Ninety-two 



Individuality of Line 



The importance of this line is to typify the Individuality of the Wearer. 
It does not have to be singular but can be of plural representation. Youthful 
Lines are the exhibition of Lines characteristic to Youth. They are 
emphasized in relaxation and buoyancy of grace. 

This branch of the work aims to design your Models with variations of 
the typical, modern girl in all here loveliness and daintiness. Through lines 
you can distinguish moods and fancies. One may design the lines of a frock, 
like the wings of a Butterfly delicate in texture and in softness and beautiful- 
ness of lines. Every movement assimilating artistic touchps in grace of line. 

Huge Bows, Large Baskets of French Flowers (made of Silks and 
Ribbons), Garlands, and Fluffy, Lacy effects (such as RufHes and Flouncings) 
are representations that may be used for the Intermediate Ages. Almost 
anything that suggests a waving motion might be used. 

In the problem given the Bodice is swathed in one continuous girdle 
(front and back) ending in a huge bow, and then falling into a large cascaded 
effect. The Skirt is circular, giving the line of rotary and the waving effect. 

The Bodice shows the girlish simplicity through the graceful lines of the 
figure, while the skirt falls in large graceful curves even to the edge of the 
same. 



Modeling 



We will first turn our attention to drafting the portion that is known as 
the Swathed Bodice effect. This is all cut in one. Take your regular working 
Block, and place on the fold of your material or paper, this must be folded 
double as you are going to draft this as a surplice is drafted. We will first 
draft the piece that ties over, marked one on diagram. You measure on your 
underarm seam four inches up and dot, and you will also note that it is one- 
half inch above your Bust Line on Line One. Draw your line from your 
side seam line over to Line One. The dotted line marked One will guide you. 
Now trace through this line this far, and on the waist line to the fold slightly 
curving it instead of pointing. Turn this piece out and add six more inches to 
the tracing, open and spring the end three times. This is the piece that ties 
around the bow. You will notice where your tracings left off and continue 



Ninety-three 



this over the pattern to under the arm, the heavy line marked Two will guide 
you on diagram. This is the front swathed effect coming from the right side 
across and reaching bow on left side. As the back is a continued surplice, 
connect the back block to the side seam of the front block. Fold the material 
or paper under the center back. From under the arm we draw, as heavy line 
marked Three is drawn on diagram down to four inches above the tight 
waist line (center back). For the surplice part in the back, you measure up 
on your underarm seam of the two blocks three inches. Then draw line as 
dotted line Four will show you on diagram. Before turning out surplice you 
drop down to the Semi-Fit Waist Line and trace right through from surplice 
block back portion the other half portion and directly to the center front. 
Measure for the bow which is on the extension of the surplice you measure up 
ten inches, and the width of the bow is 16 inches, also the extension for the 
other side of the bow is ten inches. Open and spring the bow from the top. 
down 54 the distance three times, one-inch springs. To make a folded cascade 
you fold the material or paper three times, to the exact length about 36 inches 
from the Normal Waist Line. Measure down 18 inches about one-half the 
length and then directly opposite that point on the fold side mark. From that 
point measure down half the measurement that you have just taken 18, so 
measure 9. Cut one layer slanting from this 18 to 9-inch point. Directly 
opposite the 9-inch point on the opposite side mark, then measure 9 inches 
down. Cut the second layer on the slant from the 9 to the 9-inch point. Then 
cut from the 9-inch point on the slant down to the point, last layer. Mark 
your springs before opening the cascade. Spring the top layer one time in 
center almost to top on slant. Spring the second layer two times and the 
third layer three times, spring all up on the slant as diagramed. Add this 
folded cascade onto the bow. 

Circular Skirt 

Take your regular skirt block that has already been sprung three times, 
and spring every inch up to almost the top. Your Back and front are done 
the same. 

When they have been sprung, you put your hips together and let the 
rest spread, as per diagram. 

One part of the Bodice comes off of your regular dartless block, it is 



Ninety-four 



the left side portion between the swathed parts of the bodice. After you 
have cut your French Bias Lining lay your Front and Back together and 
draft it off of the same block. 

The material of this Model is gold and vermilion shot taffeta, the bow 
and swathing surplice is lined in heliotrope over deep wine shade of crepe 
georgette. The ropes over the shoulder are hand-made by winding helio- 
tropes on cable cord in shades ranging from light lavender to deep purple. 
The bow on the interior is edged with the same flower. It is also wired 
out. 

The underslip, or lining, is made of black crepe georgette. 

Circular Skirt cut with Front and 
Back Seam 

First pin side seam of skirt together. Then place center of front of 
pattern along selvage and pin. Join any place where seam happens to 
come with the selvage of the material. Cut even with edge of pattern 
and sew. 

Circular Skirt with Side Seams 

Place center of front and center of back of pattern on fold of material, 
cut even with edge of pattern and sew. 



Ninety-five 




Ninety-six 



Character of Line 



Character of the Wearer can be personified through Line. Not alone 
the Personal Character, but any character on the Stage can be represented 
by Dress. The Personality of the Character is sometimes acted through lines 
of Dress, and through this recognizable principle we have the co-operation 
of Arts, the Actor and the Designer. 

Sometimes the lines of a dress, introduced on the Stage, become very 
popular. A good character of line is one that has been accepted by the 
Audience and has become one of the Trends of Fashion. 

The World is a Stage and upon it are many Players. The Designer 
must cope with this idea and Design Models that will suit many different 
kinds of characters. It does not have to be Characters in the Modem Plays. 

Character of Line is the Free Will of Line. In designing for the In- 
genue we could not express the character by long clinging lines, like we 
would a Tragedienne. We would give a line expressing a Type active and 
full of active motives. We prevail upon the Line to assist the character. 

In the problem the lines express supple youthfulness. The Seamless 
Princess is designed with the huge French Knot and Sash entrain. The 
Skirt is designed on circular lines. The whole conception in this Design 
expresses wit and vivaciousness. 



Modeling 



Semi-Princess Block: Take your Regular Block and place your regu- 
lation Two Darted Lining Dots on. Half way between the two dots on 
the Bust Line dot. Square off directly below this dot on Semi-Fit Waist 
Line, and square off seven inches below this dot (Square off means dot 
straight below). Divide your shoulder seam into one-half and dot with 
Red Curve (V 5) draw down to dot on Bust Line. Measure on each side 
of dot on Semi-Fit Waist Line one-half of dart, with Red Curve (V 5) face 
up draw in right side of dart (V 5) face down draw in left side of dart. From 
each point with Blue Square draw lines down to dot seven inches below. 
Measure in one dart from Yz inch on Semi-Fit Waist Line and draw from 
this dot up to Dividing Line under the arm. Measure over from the end 
of Back Hip Line seven inches down one dart, dot, put V 3 on dot on Semi- 
Fit Waist Line and draw in the curve of your hip seven inches down. 



Ninety-seven 



Back: Use your Regular Block and draw in your Semi-Fit Waist Line. 
From your side hip Line measure in one-half of an inch on the Semi-Fit 
Waist Line. From that point with your Red Curve (Face Down) place V 
3 on dot and draw the curve of the hip down seven inches touching the 
Blocks hip ciuve. On the Semi-Fit Waist Line and the y^ inch point draw 
line up to under the arm. On the Semi-Fit Waist Line from the half-inch 
in point and the half-inch in point from Center Back divide into one-half. 
Place one-quarter of an inch on each side of that point. Divide your shoulder 
seam into one-half. Take your V 5 of Red Curve and place face up at the 
one-quarter out point and draw the curve of your dart up to the division 
point on the shoulder seam. Make the right and left side with the same 
curve. Square and dot seven inches below your dart and measure out on 
each side one-half of an inch. Draw from the one-quarter out points on 
each side down to the opposite sides. 

Cut out without seams your four different sections. 
Transferring into a Seamless Princess Kimona. 

Take Number One and Number Two pieces of your Princess just drafted 
and squeeze together dart (tightly). Pin down flatly on your material or 
paper. Take Backs Number Three and Number Four and put dart tightly 
together and put shoulder to shoulder with front. As you do a regular 
Kimona. Fold upon Shoulder Slant for a Regular Kimona Sleeve. Cut 
under Arm Seam Back and Front to the Silhouette Line of your Front Prin- 
cess Block. The Center Back is cut the same as the Regular Kimona Block 
Center Back. The Center Front is cut with one inch taken off on account 
of the Round neck. It is not necessary to pinch in a dart on the shoulder. 
From the end of your Bodice Line measure up on side seam four inches, 
and from that point measure over four inches, dot. Cut straight across 
from side seam. Make the width of your band that attaches to your French 
Knot or Bow and Sash three inches. Make sash that ties up for the French 
Knot about 8 inches wide. Crush one end down until it fits onto end of 
3 inch strip. 

Back : Follow the same rules for the cut as the front with the exception 
of an extension of 6 inches on the strip. Tie your French Knot v\rith the 
Sash by just folding it back with a loop of 9 inches. Tie over the 6 inch 
strip from Back. Let the sash drag on the floor. You may face the train 
or sash and fill in cut with continued facing. 



Ninety-eight 



Semi-Circular Skirt 

Take your regular Semi-Fit Sprung Block. Spring every inch from the 
bottom up to the Semi-Fit Waist Line. To spring draw a line up from 
each dot to Semi-Fit Waist Line. Cut open and insert a piece of paper or 
material spreading one inch at the bottom tapering up to nothing. Or you 
may just open and pin down onto another piece of paper, spreading one 
inch at the bottom and tapering up to nothing and cut out new Block. 

Back is done by springing every ^ inch and then followed out the same 
as the front. 

Frill: Draw Line across at the end of your Block Line, which is seven 
inches down. Measure from Side Seam after all springing is accomplished, 
three inches up, out three inches, draw line down to line (Top of Skirt Line). 
At the three inch point above draw line straight across. Spring every inch 
down to the top of skirt line. Cut this frill off as it sets better by cutting 
it separately and placing it back. Back frill is sprung and cut the same. The 
Studio Model is made up of Black Chiffon Taffeta. Circular Skirt and Frill 
of White Broadcloth, edge corded in double cording of Black and White. 



Ninety-nine 



riri 




One hundred 



Lines in Name Only 
Butterfly Kimona 

Lines in Name Only are always sensitive to the beauty of a symbolic 
design. We have the Butterfly Kimona for example. 

The flowing lines of an open sleeve and skirt panels are essentially of 
Butterfly origin. There are all modern improvements, as silk lace for skirt 
and silk medallions with streamers. 

In all probability the name of this silhouette was derived from the 
Butterfly because its wings are spread in flight. In this Model it is only 
the Lines of the Sleeves that have this silhouette origin. 

Today's Butterfly Kimona has all the advantages over its beautiful 
namesake. The Designer regards nothing further than the Butterfly Kimona 
Block in the creation of the Design. These Lines in Name Only often become 
popular and will be seen upon every representation of Designs. In other 
instances, we have the Straight Neck, "The Bateau Neck" in definition "Long 
narrow light boat". The neck line is long and narrow, thus the Designer 
has these lines to use continually and still can continue to follow other ideas 
and ideals in the Design. 



Modeling 



Use your Regular Drop Shoulder Night Gown Block. The Rules for 
making same (Back and Front) you will find in the French Lingerie Dia- 
grams. Do not spring between Shoulder Seam and Chemise Waist Line on 
Block for Butterfly Kimona. 

Take your Regular Drop Shoulder Night Gown Block and place on the 
fold of the material or paper. The length of the sleeve is obtained by meas- 
uring from the wrist up to the edge point. The length of your sleeve is 24 
inches from the top of the shoulder to the wrist. From the wrist up to edge 
it measures four-thirds, so take 4 inches off of your measurement (making 
20 inches). Measure down on your Night Gown Block 20 inches from the 
shoulder dot. Continue your straight line down to dot. Curve from this 
point under the arm to Waist Line. Fullness, divide between shoulder seam 
and waist line point into one-half, dot, then two inches above and two inches 
below, dot. Slant these springs toward center one. Draw in to about half 
of width. Open these three springs and insert one inch tapering to nothing. 



One hundred one 



The fold panel is about 32 inches long. From Sketch it measures 2/3 
in width transferred is 4 inches, as you remember the rules for doubling. 
In getting the position for a Panel you fix its position from a point on the 
shoulder. In your example this panel begins from a point directly below 
center of shoulder. One and one-half inches on Chemise Waist Line toward 
Side Seam with the balance of width towards back. Each side of the panel 
folds back, so add two inches out on each side. The panel points one inch 
above the straight line of same and tapers down to fold edge. Open and 
spring one inch on the fold. By drawing line to waist line open and insert 
one inch spring on each side. Two springs on each panel. The Medallions 
with the streamers is proportioned as follows: The same Line that is drawn 
from shoulder governing the position for the width of the panel is used. For 
the length obtain in thirds the amount from the Shoulder Seam and the ex- 
tension over this Shoulder Line. The width taken in thirds is doubled 
when transferred in inches. The width of the streamers when transferred 
is doubled. The Sleeve is separated up to the Medallion. The Measurements 
are 3 inches from Shoulder Seam, medallion on Chest line extending one- 
half inch over Line from shoulder. Width four inches and width of stream- 
ers IJ^ inches each. Length 30 for Chemise Waist Line. 

The Skirt portion is connected on the slip which is a Regular Straight 
Neck Chemise Block sprung three times. The arm-hole is made about l^^ 
inches wider. Cut same off at the Chemise Waist Line. Make bottom of 
the material of the Model and upper portion of China Silk. Put back to- 
gether with an elastic Waist Line. 

Back and Front of the Butterfly Kimona executed the same. 

Back and Front of the Chemise Slip and Skirt portion done the same. 

The Model is made of Satin Back Crepe with overskirt of Silk Lace. 
The Medallion and Streamers made from Silver Cloth. 



One hundred two 




One hundred four 



Artisans of Combining Blocks 
Raglan Sleeves 

Artisans of Combining Blocks or Patterns are those skilled in putting 
together the Mechanical Blocks for the different Designs. The Kimona 
Sleeve is used with various Silhouette Blocks. It is the practical side of 
Art in designing. It has mechanical purposes and advantages in combining 
blocks having one or more masses. Its parts have symmetry or due pro- 
portion so arranged to make another block. In the diagram the Raglan 
Sleeve drafted on the Regular Kimona Block and the Body of the Coat 
drafted upon the Kimona Chemise Block. Fullness is added after the masses 
are constructed. 



Modeling 



Use your Regular Kimona Block (Unsprung). Open out and lay flat. 
Same has no seam on the shoulder. Measure up on under arm seam 3 inches 
from the Chemise Waist Line. From Elbow measure out two inches. Wrist 
three inches. Draw a curved Line from point on under arm seam to elbow 
to wrist. Back measurements are the same and the curved line is the same. 
On the neck line toward the center front measure V/i inches toward center 
back 1 inch. Draw line from dot on front down to under arm seam point 
and from the back the same. You can make the Lines of a Raglan Sleeve 
vary in shape. One can be curved, one straight and one scrolled. On the 
diagram you have the example of the three. On Sketch the Straight 
is used. The Bottom for fullness is sprung. Divide into one-half dot, 
then one-half on each side and dot. Three springs in all, open and spring 
one inch at bottom and taper to nothing up to elbow. 

For your Body of the Coat use your Regular Kimona Chemise Block. 
Place the Line of the set in portion and spring only to that point for fullness. 
You may spring through in some instances if you want fullness in the sleeve. 
The Model shown is not sprung through. As this is an unusually Circular 
Model it is sprung 7 times from side seam to center back. Making 14 springs 
across back. The Front is done the same. You may spring 4 extra times 
after the sleeve is on if you desire more fullness. When the sleeve is on 
spring through the line of the sleeve. You may add or reduce your fullness 
as you plan your Design. Add about 2 inch or 1^ extension in front (/a/)). 



One huntdred five 



The Collar is a bias fold made with slot to thread end through. 

The Cuff is drafted on after the springing is applied. Its width is half 
way between elbow and wrist. - 

The patch pocket is 10 inches in width at bottom and 8 inches at top, 
length 10 inches. 

The Model is made of Plaid Sports Material with Collar, Cuffs and 
Patch Pocket of Black Suede. 



One hundred six 




or tUiiviA, uv enj- 
0>u- hundred cigl't 



Decoration of Line 



In Decoration of Line Beauty comes first. Its artistic and novel drap- 
ing will impart to the wearer an irresistible gracefulness and slenderness of 
line. It is the abstract beauty that determines the artistic excellence of 
Dress. Most cases in the use of decorative art — value is important. 

Line composition is the most serious quality of design. It is an error 
to assume that by the arrangement of colors, materials, ornamentation and 
mixed lines you have a design. Some of the most beautiful dresses are 
the simplest. A gown may be beautiful, though of plain material because 
it has a Decorative Art of Lines. The best results come from the applica- 
tion of Decoration of Line upon structural forms that have beauty of 
proportion. 

In the use of Decoration of Line Costumes must be wearable. The 
ingenuity of the Decoration of Line is displayed in the problem given, Mod- 
elled in a graceful silhouette. This Design is an example of fineness and 
simplicity. The style develops into more elaborate and ornate drapery when 
gracefully hung from shoulder in back. Perpendicular Lines in Draping 
are more distinctively artistic than the clustering lines. 

Beauty of proportion is a substance to dwell upon. For instance, in this 
Model the continuity of line starting at the waist takes the same degree of 
curving that is characteristic of the Design. One of the correlative lines ia 
Decoration of Line is the draped across line, as the lace drapes in center 
of back to shoulder. 



Modeling 



Take your regular unsprung Kimona Chemise. For drop neck line take 
one inch off of front and place on fold of material or paper. One one inch 
dart in on center of shoulder seam and add one inch under the arm. For 
fullness at the Normal Waist Line on a Straight Line Model add springing. 
Add one spring at Normal Waist Line, also one one inch above and one 
one inch below, open and insert a one inch spring. Taper to a point one- 
half the width. The neck is one inch up from shoulder point slightly curved 
and then straight across. 

Back: Make according to rules of Regular Straight Neck Block. Do 
not add side springs in back. 



(7»^ hundred nine 



Start roll of Lace and Chiffon at Chemise Waist Line (use a piece of 
lace 4 inches wide and a picot piece of chiffon 4 inches wide) ; continue around 
with drop Center Front IJ^ inches, opposite side 2 inches, Center Back 1^2 
inches. The width of the space for the roll of lace and chiffon is 2^/^ or 3 
inches. Very effective is a gathering of same material, shirred top and 
bottom. Put in the same width as the roll. Lace 2^ yards. Drapted three 
inches from side seam leaving an extension of six inches for cascading. 
Extension three inches below hem. Keep lace even at bottom by lifting 
at top line when continuing around. At Center Back drape lace to shoulder 
and then to point on sleeve. 

Bind neck and Sleeves in bias fold. 

The Studio Model was made up in Black Charmuese and Cire Lace. A 
shirring at top was used on one Model and Harem Roll on other (Lace and 
Chiffon alternating in rolling). A cluster of Silver Grapes caught the full- 
ness at Waist Line of one while White Cock Feathers lined in brilliants 
on the other. 



Japanese Kimona 



Take Regular Chemise Kimona, make length to extend six inches on 
floor. Add six inches out and six inches up and curve to the point. Add 
fullness by springing. Divide on bottom line into one-half dot, then one- 
half on right side dot, then again on each side of that dot. Draw your three 
springs up to your shoulder seam, slightly curve the line from Chest Line 
up. Open and insert one inch spring at bottom and taper up, spreading one 
half inch on Shoulder Seam. Including center dot divide toward front in 
thirds and insert three springs six inches in length, open and insert one inch 
spring tapering to nothing. Sleeve width is taken from Bust Line under 
the arm and draw parallel with Shoulder Seam. Divide into one-half on 
wrist line dot, one-half on each side dot, open and spring 3/^ length up, one 
inch springs tapering to nothing. 

Fold material or paper as front is cut Surplice. Cut Surplice from point 
three inches over from Line One continuing straight Surplice to neck line. 

Back is cut and draft'ed the same as usual. 

Collar is cut on bias, seamed in back continues around to a desired 
distance down, then faces back the front. 

The bottom has a padded roll three inches around edge. 



One hundred ten 




One hundred twelve 



Descendency of Line 

Descendency of Line is a line making a portion of a design that has been 
used in past designing. Probably these lines were used in the days of our 
Grandmothers and now adapted to present day designing. 

It is the Art of producing an Old Fashioned Idea to a present day Model. 

A Distinctive Art sometimes passes a generation before it is brought out 
in use again. It is a recreation of free lines that can be used time and time 
again. 

The Art of Transmitting Lines is shown in the course of the descent! 
of the old fashion ideas onto a most up to date frock. 

The logic in the Descendency of Line is a combination of smaller lines 
whose elements form a subject. In the problem given it is the Old Fashioned 
Drop Yoke. Your creative composition must express originality, introduc- 
ing an old fashioned or quaint touch by either trimming, flowers or smocking, 
etc. Take your Idea or Inspiration and build around it. 

To combine Old and New Ideas in problems you need a critical sense. 

Too loosely applied combinations do not exhibit designs of Quality. 
In the Design given the ornamentation has been carried out in ribbon trim- 
ming which is an old fashioned idea, with floral motif and huge flat bows. 
The Silhouette and Draping Lines are strictly modelled in the New, imparting 
to the Wearer the latest Trend. While thte Yoke and Ornamentation are Old 
Ideas imparting to the Wearer a Quaintness of Style. 

Modeling 

Take your Regular Chemise Kimona Block (Sprung) and transfer it 
into a Drop Shoulder Night Gown Block. See Lingerie. Yoke drops 4 
inches then draw curve around same curve as neck. 

The lower portion is sloped from your Regular Kimona Block (Sprung). 
Take one inch off front lay on fold of material or paper. Pinch out one inch 
dart center of shoulder seam and add one inch under the arm. Get position 
of yoke, which is one inch above Chest Line on Line One. Cut out and add 
to Yoke. 

The side panels are cut, one inch over from Line One on Chemise Waist 
Line and three inches below. The slot for gathering is 3^ in width, Y/^ for 
roll, ^ for back. For fullness divide and spring six times, one inch springs. 

Back of Block is folded in same manner. 

In the Panels, put Front and Back together and cut in one piece. 



One hundred thirteen 




One hundred fourteen 



French Lingerie 



Lingerie has taken its wonted place in the affections of the Lady of 
cultured taste. The Designs include a group of unusual novelties, variously 
— but all of them charmingly — fashioned of fine linen, voile, batiste and crepe 
de chine. Some of the more substantial designs of Bodices, Brassieres and 
Corset Covers are made of the heavy silks and satins. 

A remarkable collection of charming intimacies (gowns, chemises, draw- 
ers, bodices and etc.) ; some in austerely tailored models, others daintilyf 
trimmed with fine hand-made lace and embroideries, which have an appeal 
that is peculiarly their own. 

Lingerie Sets always find the same daintiness with the light silky 
materials. 

Crepe de Chine and Voile de Soie are mostly preferred, being so prac- 
tical and easily trimmed with Filet or adorned with open work motifs, em- 
broidery or many other fancies. 

Lovely materials that every modern woman demands allows the use of 
all various shades: blue, mauve, yellow, and specially the roses, from the 
flesh color to the salmon, which are so suitable to every lady. 

The Designs are always very simple, many small plaits can be used 
divided by ranges of open work, embroideries, etc. Large and small bands 
of Filet or Valenciennes insertion are decorative. 

There are always great demand for charming and richly hand embroidered 
sets. Also Bridal Sets of white crepe de chine with insets of Filet Me- 
dallions Heart shape are most effective. 

The Seasons Designs in Frocks often oblige the Elegante to wear diff- 
erent appropriate Lingerie. For instance, the petticoat, owing to the sheer- 
ness of Dresses. Naturally this is the reason to prefer the use of the Petti- 
coat Combinations. 

Lingerie is designed in strictly "decollete" and of the daintiness of design. 
In Designing always remember simplicity. 

In selecting your colors let this little symbolic suggestion advise you. 
Leave your Art Palette with Colors of Oils and turn to your Art Palette 
with Colors made from the juice of Flowers (for the daintiest and lightest 
pastel shades). 



One hundred fifteen 



I STEP-1N%. 



OP£Af. 



a CCMB/VAt/Om, 




y BNVtLOTlS. 



One liundrcd sixteen 



Lingerie 



1. Step-Ins. 

Take material or a piece of paper large enough to fold, double, then fold 
again center front. Dotted lines through center (Open B) will guide you 
as for folding. Then place the double fold Center Front upon the Center 
Front of the Regular Block. Place the Center Fold 14 inches from Waist 
Line for Crotch. Let top of your garment be even on Chest Line. Measure 
out from point under the arm one inch and from Chemise Waist Line two 
inches. Draw from that point down through the two inch Dot at Chemise 
Waist Line and then down to the bottom fold. From the Crotch point (14 
inches) measure two inches in, dot. This is figured for both sides as the 
material or paper is doubled (Back and Front). The Crotch is closed. Step 
Ins are generally designed by the Side Seam being left open about 6 inches. 
The Center Back is raised two inches (Allowance for Seat) and then taper 
down to Side Seam Lines. (A) is a closed diagram and (B) is an open 
diagram. 



Modeling 
1. 



The Model is of Checked Gingham Taffeta made upon the Regulation. 
Block. The side Seam is opened 5 inches Front and Back. From the 2 
inch Crotch Point and 5 inch point a Line is drawn. Lace is inserted in this 
space with 3 inch rounded edge. At the 5 inch up point a ribbon bow ties 
the Side Seams. On the Chest Line insertion lace is used with shoulder 
straps of ribbon. 

2. Combination (Shirt and Drawers). 

Front. (A). 

Take our Regular Block and put on fold of Material or Paper. Measure 
down from Waist Line 14 inches for Crotch. The Length of the Shirt is 
optional (this is 14 inches). Draw Line at the bottom straight across. The 
garments are generally cut off at Chest Line. Yokes, etc. are added as trim- 
mings. Measure out from under arm point one inch and at Chemise Waist 
Line two inches. Draw Line down from under the arm through the two 
inch point to the bottom on length line. Fullness is added by springs. Di- 



One hundred seventeen 



vide on Bottom Line between Center Front and Side Seam Line into one- 
half, dot, then on each side of this line divide into one-half, dot, making three 
springs in all. Draw lines from these points up to Chest Line, open these 
lines and insert springs, spreading one inch at bottom and tapering up to 
nothing. 

Back. (B). 

Measure down 14 inches from Chemise Waist Line in Center Back. 
Draw straight Line across for bottom line. Like Front length is optional. 
At the Chemise Waist Line measure out two inches for your side seam, dot, 
from under the arm draw down through the two inch point and then down 
to the length line. For fullness divide into one-half between Center Back 
ana oiue Seam Line, dot, and then into one-half on each side of this point. 
Making three springs in all. Draw lines from points to Chest Line. Open and 
insert springs, spreading one inch at bottom and tapering up to nothing. 

Drav/ers (AV 

Use the bottom part of the Regular Block (Peplum) for the Drawers. 
In front the Peplum will have a little projection (this is caused by bringing 
your y^ dart in, then drawing your line back to Center Front). Put this 
Line on fold of material or paper. Measure down from Waist Line 14 inches. 
From a straight line from Waist Line this projection is generally about 1^ 
inches out. On straight line opposite Crotch point measure down 4 or 6 
inches and draw from projection line to that point. Next draw the bottom, 
line. From the Waist Line (Tight) measure out one inch for side seam. 
From that point draw down to bottom line touching the hip line. For 
Waist Line curve place V 3 of Red Curve on the one inch point and draw 
in the waist curve. For fullness on bottom line divide into one-half dot, 
on each side of this point divide into one-half dot. Making three springs 
in all. From these points draw lines up to waist line, open and insert one 
inch springs, spreading one inch at bottom tapering up to nothing. Spring- 
ing is optional, also if you wish an elastic band around waist and more full- 
ness send your one inch springs clear through. Raise waist line to make 
slot for elastic to thread through. 

Back. (Drawers B). 

Use the Peplum of the Back Block. There is also a projection Center 
Back (caused by the ^ inch in point and then drawing line back to Center 
Back). Place this line on edge of material or paper, measure down 14 inches 



One hundred eighteen 



from Chemise Waist Line for Crotch. Then draw your straight line from 
Waist Line. Directly opposite Crotch on straight line measure down 4 or 
6 inches. From projection point draw down to this point. Next draw bot- 
tom line. From the Tight Waist Line measure out one inch for side seam, 
seven inches down from Tight Waist Line measure out one inch, dot. From 
top point draw down to the seven inch point and then down to the bottom 
line. If fullness is desired divide bottom line into one-half dot, then one-half 
on each side of this dot. Making three springs in all, open and insert spring, 
spreading one inch at bottom tapering up to nothing. If you wish elastic 
around waist and fullness send one inch springs clear through. Also add on 
top of waist line extra for slot to thread elastic through. Turn your attention 
to Seat Springs. Divide your Center Back Line from Chemise Waist Line 
into one-half. Below that point into one-half again dot, two inch above and 
two inch below place spring, taper to end of first spring. Make length of 
spring about one-half of width in. Open and insert one inch springs, one 
inch and end tapering to nothing. For curved Waist Line place V 3 Red 
Curve Yn inches up Center Back and draw waist curve to the one inch out 
point (Side Seam). 

Note (Front and Back). If you desire fullness it is better to cut the 
Model off at Chemise Waist Line. Waist Line of Drawers. Cut a Bias 
Band one inch wide. Place on wrong side and stitch upper and lower edge 
and draw elastic through. 

Modeling 
2. 

The Material is Crepe Georgette. The springing of the Chemise Shirt 
only comes to the Chest Line. The Yoke is embroidered linen. Drafted 
off of block. The bottom part of garment is then attached to yoke. Picot 
slots are made along bottom about an inch up and two inches apart, cut 
open and double faced ribbon strips inserted. One at Center Front. The 
Drawers are sprung from bottom up to waist line enough added for elastic 
slot turned back and elastic threaded through. The bottom trimming is the 
same. There are seams always where seats are sprung. 

3 Teddy Bears. 

Front A. 



One hundred nineteen 



Use your Regular Block and place on the fold of the material or paper. 
Measure down from Center Front Waist Line 14 inches. Draw bottom line. 
Measure up on Center Front two inches and on bottom line over two inches, 
draw across to points. Garments are generally cut off at Chest Line. Meas- 
ure out under arm one inch and Chemise Waist Line two inches. From that 
point draw down the side seam line through the two inch dot continuing 
to bottom line. For fullness divide into one-half on bottom) line dot, and 
one-half on each side of that point dot, making three springs in all. Draw 
lines up to Chest Line, open and insert springs, spreading one inch at bottom 
and tapering up to nothing. If you wish top shirred on elastic with fullness 
allow your one inch springs to continue through. 

Back (B). 

Put Center Back of Regular Block on edge of material or paper. Measure 
down 14 inches from Chemise Waist Line for Crotch. Measure up on Center 
Back Line two inches and over on bottom line two inches, draw to points. 
For side seam measure out two inches at Chemise Waist Line dot, from 
under the arm (Chest Line) draw down through the two inch point to 
bottom line. For fullness divide bottom into one-half dot, then one-half on 
each side of this dot. Making three springs. Draw lines up from these 
points to Chest Line. Spread at bottom one inch and insert spring tapering 
up to nothing. If you wish top shirred on elastic allow your springs to 
continue clear through. For the Seat, divide the Center Back Line into 
one-half from Chemise Waist Line. From that point into one-half. Draw 
line into one-half width. Two inches above and two inches below this line 
make spring. Taper toward center one. Three springs in all. Open and 
spread one inch tapering to nothing. Crotch Teddy Bears. Cut a straight 
band one and a half inches wide. Sew first on right side then turn over and 
turn in one-half inch and hem. Close with snaps. 



Modeling 
3. 



The Material of the Teddy Bear is of Crepe Georgette. Filet Medallions 
of Butterfly Design is inserted. Starting with the Chemise Waist Line 3 
ruffles are applied one over the other. These can be either in the same ma- 
terial or ribbon. Over the shoulder ribbon straps are used. The Studio 

One hundred twenty 



Model was made up in Lavender Crepe, with White Medallions Butterflies. 
The three ruffles were of the same lavender material picot edges. The 
Chest Band and Limb Bands were embroidered in a floral design of Prim- 
roses of delicate shades. 

4. Pajamas. 

Coat (A). Take the Regular Chemise Kimona Block. Take one inch 
off the front, as the same has straight neck. Make a one inch dart on the 
shoulder seam and add one inch under the arm. The end of the neck line 
is up one inch from the shoulder point, (curve neck around). The length 
of the sleeve is two inches under the arm. The length of coat measures 
three inches below Chemise Waist Line. Draw your bottom line at that 
point across. For fullness divide into one-half and dot, and into one-half 
on each side. Draw up to point above Chest Line. Open and spring by 
spreading one inch at bottom and tapering to nothing. 

Back. Coat (B). 

Point the shoulder seam at the sleeve edge and deduct the inch at the 
top. Rules in straight necks. Neck opening will be at same point as front 
(match same to front). Add one inch under the arm. The length is three 
inches below Chemise Waist Line: draw the bottom line across. For full- 
ness divide the bottom line into one-half dot, then one-half on each, side, 
making three springs in all. Draw lines up to points above. Chest Line. 
Open and insert springs one inch at bottom and tapering up to nothing. 

The Coat is made to slip over the head. 

Pants (A). 

Take your Regular Skirt Block unsprung. Place on edge of material 
or paper. Measure down on your projecting line 14 inches and dot for 
Crotch. The Side Seam is the same as Regular Skirt Block. Make 34 inches 
long. Measure in from the Side Seam 6% inches (or more if wider leg is 
preferred) dot. Draw down from the Crotch point to the 6^/^ inch point 
on bottom line. Waist Line put V 3 of Red Curve on the one inch out point 
and then draw in the shape of the waist curve. If you want more fullness 
in the top insert springs. Divide waist line into one-half dot, one-half on 
each side dot, open and spring about 7 inches down. Spread and insert one 
inch springs. When springs are added cut off at the Chemise Waist Line. 

Back Pants (B). 

Take the Regular Skirt Block unsprung. Place on edge of material 
or paper. Measure down on projecting line 14 inches from the Chemise 

One hundred twenty-one 



Waist Line. Side Seam the same as Skirt Block and make 34 inches long. 
On bottom line measure over 6^ inches from side seam (or more if wider 
leg is preferred). From that point draw up to the Crotch point. For Seat 
divide from Chemise Waist Line and Crotch Point into one-half, dot. Below 
that point into Vq, again dot. Place springs. Draw length one-half the width 
in. Add a spring two inches above and two inches below, making three 
springs. Taper springs toward center one. Open and spread one inch taper- 
ing to nothing. If you wish more fullness from the Waist down divide the 
waist line into one-half dot, then one-half on each side. Draw lines down 
about 7 inches, open and spring, spreading one inch at top tapering to nothing. 
If fullness is added cut off at Chemise Waist Line. 

Waist Line. Cut a Bias band one inch wide. Place on wrong side and 
stitch upper and lower edge and draw elastic through. 



Modeling 
4. 



The Model is made of Black Silk lined in Vermilion Crepe de Chine. 
The initials are embroidered in Vermilion Red Chinese Embroidery Silk. 

Use your Regular Pajama Block; the ties are added as follows in the 
drafting. Coat. On Side Seam Line 3 inches above Chemise Waist Line 
and one inch below. Width of Cut 54 '"ch top and one inch on Chemise 
Waist Line. The Width of the tie is taken from the point of the Coat 
Block. Measure lyi inches up on side seam and IJ/^ inches over on bottom 
line. Connect with cut above and the bottom line and draw strip 6 inches 
in length. Back is done the same. 

Pants. For width of strip measure up from point of skirt block lYz 
inches and over on bottom line lYz inches. Measure up from Strip point 4 
inches and make width ^4 of an inch. Tie is 6 inches long. Back is done 
the same. The Waist Line is put on an elastic. 

5 Envelopes. 

Front (A). 

Take Regular Working Block and place on fold of material or paper 
and measure down 14 inches and dot. As the garments generally end at 
Chest Line measure out one inch and dot under the arm and two inches at 
Chemise Waist Line, dot. Draw down through the two inch point and 
then continue down to bottom line (14 inches). Draw from this line to 



One hundred twenty-two 



Center Front. For fullness divide bottom line into one-half dot, then one 
half on each side. From the three points draw straight lines up open and 
spring, spreading one inch at bottom tapering up to nothing. If you want 
fullness at top all you have to do is to send your springs clear through. 

Back (B). 

Measure out from Chemise Waist Line on Regular Block two inches 
dot. From under the arm draw down through the two inch point and con- 
tinue 14 inches to the bottom line. Center Back measure dowm 14 inches 
from Chemise Waist Line for Seat. Divide Center Back Line into one-half 
dot. Below that point into J4 again, dot, place spring, spring two inches above 
and two inches below. Put in to about one-half width of block. Spread one inch 
and taper to nothing. For fullness at bottom divide bottom line into one- 
half dot, also one half on each side dot, draw lines up open and springj 
spreading one inch at bottom tapering to nothing. If you want fullness at 
top send your spring clear through. For strap. Measure from Center Back 
two inches over and make strip two inches wide and six inches long. There 
is one on each side — (Cross and attach in front). If you prefer you may 
put one strap 4 inches wdde in center (evenly placed). 



Modeling 
5. 



The Model is made of Voile de Sole and Lace. Color of material is 
Henna and Black Lace. Half inch Lace edges the straps. 

6 Corset Cover. Front (A). 

Take Regular Block and take another i^ of a dart off of the front. Place 
this Line on the fold of the material or paper. Measure 2J4 inches down 
from Chest Line (Center Front) and 1^ inches under the arm. Draw Line 
across. Cut off at Tight Waist Line and curve slightly toward your front. 
On Side Seam put in two 1/2 inch Darts. These darts will draw same in 
Figure Fitting. 

Back (B). 

Use Regular Back Block and continue lines straight across for Top 
and Bottom. Face Right side of Back with a half inch band finished, stitch 
both edges. On left side have one-half inch band finished extend beyond 
edge. 



One hundred twenty-three 



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One hundred twenty-four 



Modeling 
6. 

The Model is made up in Satin embroidered in roses and leaves crossing 
center front. 

7 Yoke Night Gown. (Kimona). 

(A) Take the Regular Kimona Chemise Block for the Top portion 
of the Yoke Night Gown. It is a straight neck so we will turn it back one 
inch in the front to the Waist Line, pinch up one inch on shoulder, add also 
one inch under the arm. Measure up one inch from tip of shoulder, draw 
the neck straight across. Measure down under the arm pit or Chest Line 
two inches. The length of sleeve three inches from arm pit. In making 
the curve on top measure up two inches and down on sleeve edge 1^ inches 
and curve. Button hole slot on shoulder for tie as shoulder seam opens. 

(B) Back. Tip the sleeve so that you can take the one inch off on 
the top of the neck as this is a straight line neck. Do not forget to add the 
inch under the arm. The Length of Yoke, Sleeve and curve on top is the 
same as the Front. Also button hole the slot in the same position so front 
and back can be tied together with ribbon on shoulder. 

For skirt portion use straight material 40 inches wide and about 38 inches 
long. Front and Back the same. 

Modeling 
7. 

Yoke is of Madeira Embroidery on handkerchief linen and the lower por- 
tion is of crepe de chine with insertion of Valenciennes Lace. 

8 Brassieres. 

Take the Regular Block put on fold of material or paper. Evenly placed 
above and below Bust Line. Open and spring at side seam, one in center 
and one one inch above and one one inch below. Open and spring by spread- 
ing one inch tapering to nothing. In making figure on ribbon 7 or 8 inches 
in width. 

Back Draw your Bust Line straight across on Regular Back Block and 
evenly place width above and below the Line. 



One hundred twenty-five 



Modeling 
8. 



The Brassiere is made of 7 inch Brocaded Ribbon, the edges are faced 
with narrow ribbon and on the front narrow silver lace is bound in. 

9 Empires. 

(A). Take the Regular Block measure back one-half dart under the 
arm and draw down to Waist Line. Place on fold of material. On Bust 
Line measure up 1^ inches and below one inch. Then draw line straight 
across. Below Bust Line on Line One measure 2^4 inches and on side seam 
below Bust Line 1 inch. Make curved line. 

Back (B). Continue Bust Line Across on Back Block. Measure lYz 
inches above Chest Line and 1 inch below. Draw lines straight across top 
and bottom. For the skirt portion use 40 inch material 38 inches long. 
Back and Front the same. 



Modeling 
9. 



The material of the Empire is silk. The edge of the skirt is cut in 
points; on each point is inserted a Heart MedaUion of Filet. A French 
Bouquet is on left side of Bodice. 

10 Drop Shoulder Night Gown. 

Front (A). 

Take Regular Kimona Chemise Block (Unsprung). For the straight neck 
turn back one inch in front, pinch in one inch on shoulder seam, and add 
one inch under the arm. Take Red Curve and put V 1 and draw in the 
Shoulder Curve to the actual length of the shoulder (S^^), then take the Blue 
Square and draw in a continued slant (8) inches. Take V 5 of Red Curve 
and draw in side slant from Chemise Waist Line to the End of Shoulder 
Seam. For fullness between the End of Shoulder Seam and Chemise Waist 
Line. Divide into one-half dot, then two inches above and two inches below 
dot for another spring, making three springs in all. Slant the first spring 
up toward neck, and the springs on each side taper to the end of this spring. 
Spring about half way in the width. Open and spring one inch tapering 
to nothing. To add fullness in the Body part of thq gown, divide on the 



One hundred tiventy-six 



bottom line into one-half dot. Then on the right side into one-half dot, 
then on each side of this dot into one-half. Making three springs in all. 
Draw straight lines up to Waist Line from these dots and from Waist Line 
up put in the same curve as the curve of the side line. Open and insert 
one inch springs tapering to nothing. 

Back (B). 

Take Regular Kimona Chemise Block (Unsprung). On the Original 
Block be sure you have followed the rules for the Straight Neck. Add your 
inch under the arm. Take Red Curve as front and put V 1 on top and draw 
in the Shoulder Curve to the actual length of shoulder (5^), then take the 
Blue Square and draw in a continued slant (8) inches. Take V 5 of Red 
Curve and draw in side slant from Chemise Waist Line to the End of Shoulder 
Seam. The Springing is followed out the same as the Front. 



Modeling 
10. 



The Material of the Night Gown is of Crepe de Chine. Shadow Lace is 
used for the bottom with diamond shapes cut out. Ribbon is threaded 
and tied in bows in the diamond shapes in lace. On shoulder wreaths of 
roses are rnade of the crepe de chine and small black ribbon. Around waist 
is tied a satin ribbon girdle. 

11. Billie Burkes. 

Front (A). 

Take Regular Kimona Semi-Fit Block (Unsprung). For the straight 
neck turn back one inch in front, pinch in one inch on shoulder seam, and 
add one inch under the arm. Continue your Center Front Line straight 
down 14 inches below Waist Line. Place on edge or fold of material or 
paper. The 14 inch point is the end of Crotch. Draw a straight line down 
from Waist Line. On straight line opposite Crotch measure down 4 inches 
and dot. Draw from this point up to Crotch. Make length 34 inches from 
Tight Waist Line on Side Seam Line. Add 3 inches more for fullness at 
bottom. Draw bottom line. From the Straight Line in front measure over 
8% inches and draw from this point up to the 7 inch point on your Semi- 
Fit Block. 

Back (B). 



One hundred twenty-seven 



Take Regular Kimona Semi-Fit Block (Unsprung). Follow your Reg- 
ular Rules as diagramed in all Straight Necks. Continue your Center Back 
Line down 14 inches from your Chemise Waist Line for point of Crotch. 
Between the Chemise Waist Line and this Crotch point divide into one-half 
dot, then into one-half. Place dot for Seat Spring and continue this spring 
in to one-half width. Place a spring two inches above and two inches below* 
and continue the spring in slanting toward center one. Open and insert one 
inch springs, one inch tapering to nothing. Draw Straight Line down from 
Tight Waist Line, Opposite Crotch point on this Line measure down 4 inches 
dot, and from this point draw up to Crotch. The Length the same as the 
Front. From the Straight Line measure over 8^ inches on bottom line 
and from this point draw up to the 7 inches down point on your Semi-Fit 
Block. 



Modeling 
11. 



Use Block just drafted for Billie Burkes. Place position for Bib or set 
in front, which is 2 inches over from Line One on Neck Line and Bust Line, 
continue end straight along Bust Line. 

Divide line from Neck Line into 4 equal parts and add the points. Also 
on Bust Line. On Semi-Fit Waist Line raise one inch and 6 inches down 
on Line One, one inch wide at bottom. The cut along this Line and down 
on Line One, bind same with bias fold. After you cut this away put a false 
end onto top. Make picot slots and thread ribbon through. 

The Back is done the same. On Shoulder Seam there are points that 
button over on front. Divide your Shoulder seam for two equal points. 

The Billie Burke is of Crepe de Chine and ribbon of another color. The 
inserted Bib front is of another color. The edges are picot throughout. 

12. Bodice and Bloomers. 

Bodice (A). 

Take Regular Block and take Yz dart off the front and draw up to Chest 
Line. Under Arm on Chest Line measure out Yz dart. Draw from this point 
down to Waist Line. For Shoulder Strap measure up one inch on shoulder 
seam and make width about one inch or lYz inches. Lingerie are designed in 
strictly decollete. Make the curve of your neck extend to about Y2 inch 



One hundred twenty-eight 



below Chest Line, and about one inch around arm hole to about Yi inch 
under the arm. 

Back (B). 

The Back is done upon your Regulation Block. Make the formation the 
same as Front Shoulder straps, etc. 

Bloomers (C). 

Take Regular Skirt Block (Unsprung). Measure down on your project- 
ing line 14 inches for Crotch dot. Then draw straight line down. Opposite 
Crotch point on straight line measure down 4 inches dot, and from this point 
draw up to Crotch point. From the 4 inch dot on straight line measure down 
2 inches and draw your bottom line straight across. If you wish length you 
may add to the 4-inch dot. Fullness is optional. For regular fullness divide 
your bottom line into one-half dot, and one-half on each side dot. From these 
points draw line up to waist. Open and spring by inserting one inch spring 
tapering up to nothing. 

Back (D). 

Take Regular Skirt Block (Unsprung). Continue on Center Back Line 
(projecting) 14 inches from Chemise Waist Line and dot for Crouch. Divide 
from Chemise Waist Line and Crotch into one-hi^f and then one-hnlf again 
for Seat. Draw for first spring in about one-half width, then two inches above 
and two inches below add spring, taper these springs toward center one. 
Three springs in all. Open and insert one inch springs tapering to nothing;. 
On Straight Line from Tight Waist Line opposite Crotch po'nt mea'^'-e 
down 4 inches dot, and from this point draw up to Crotch pomt. For len<;^th 
like front you may add to the four-inch point. From four-inch point continue 
on straight line 2 inches. Draw bottom line straight across. Add the Full- 
ness in Bloomers which is optional in the regular way. 



Modeling 
12. 



The Bodice and Bloomer Combination is made of two materials. The 
Bodice of Heavy Satin and the Bloomers of Silk. Square patches of Kid 
Trimming are applied on the Bodice, while the Bloomers have a narrow 
cording around same. 

13. Bodice and Skirt. 



One hundred twenty-nin? 



The Same Bodice is used as with the Bloomers. Only cut off about 
an inch below Chest Line, add ribbon shoulder straps. Back is done the same. 

Skirt (A). 

Use Regular Skirt Block Sprung. Make about 15 inches from Chemise 
Waist Line in length. On bottom line add three extra springs (as per crosses 
on diagram). On Waist Line extra fullness is added by springing three times. 
Divide on Waist Line into one-half dot, then on right side into one-half dot. 
On each side of this dot divide and place spring. Spring down about three 
quarters the length. Open and insert one-inch springs tapering to nothing. 
This French Skirt is expected to have a slight puff on hip. 

Back (B). Follow the same rules as the Front. 

Modeling 
13, 

The Bodice (Bodice and Skirt Combination) is of heavy satin (Figured). 
The Skirt is of plaited crepe de chine. 

14 Garters. 

Ribbon, Elastic, Lace and French Flowers are what Garters are com- 
prised of. 

3/4 Yard Elastic. 

3 yards Ribbon. 

IJ/^ yards Lace. 

2 French Bunches of Flowers. 



Modeling 
14, 



Divide Ribbon into four parts and sew two together wrong side and on 
each edge. Then turn right side and thread elastic through. Add Lace on 
bottom and Flowers on the side. 



One hundred thirty 




One hundred thirty-two 



Lilliputian Art 

Children Clothes 

Lilliputian Art in Designing is the Psychology of Line, reduced for "Art 
in Dress" for the Younger Generation. 

Almost every principal of the Psychology of Line, Color, Material and 
Ornamentation can be used in Designing for Children. Simplify and reduce 
your Ideals and Ideas to be suitable in smaller sizes. 

Children of To-day in the Fashion World enjoy the Gifts of the Art as 
well as the Grown Ups. 

Proportions of Children's Figures 

Age 6-7-8 

The whole figure from the soles of the feet to the crown of the head 
should measure just about ^Yi times the whole head. Draw a perpendicular 
line 6^/^ inches long. Mark in the 6 inches and the half inch. Divide the top 
space or first inch into 4 equal parts. Line C or Second Line is the top of the 
forehead. 

Line E is the soles of the feet ; divide into one-half between C and E for 
Line D, the Thigh. Between D and E divide into one-half for F, the Knees. 
The width of the neck is ^ the length of the face placed evenly on both sides 
of Center Line. The length of the neck, including the drop of the shoulders, 
is Yi the length of the face. The width of the shoulders is one face on each 
side of center line; the vddth of the thighs are the same. The loins of the 
male are about 1 Y2 faces across. The Chest Line is two faces down, and the 
Waist Line is three faces down. The arm hole is the width of one neck. The 
proportion of the arm from the arm pit to the elbow is the same as from the 
arm pit to the Waist Line, and from the elbow to the wrist is the same. 

These proportions apply nearly enough to the younger children also, 
but the proportions of the head to the figure figures differently. In a child 
of 4 to 5 years, head goes about 6 times and the figure is about 4f^ inches high. 

For intermediate ages you take a proportionate difference, as for instance, 
a child about 2Y2 or Z years the head would go about one-fifth of the figure. 
Height about 3 inches. 



One hundred thirty-three 



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One hundred thirty-four 



For Children Draft 



Take measurement the same as large draft, with the exception you omit 
Bust measurement. 

Draw Lines One and Two. On Line One measure down the Arm Syce 
measurement which is 9 inches, dot, then from this dot draw Line Three 
parallel with Line Two. From your first dot on Line One measure in on 
Line Three the Width of Your Back 5 inches, Continued Measure 9 inches. 
Chest 15 inches, dot at each one of these points. At each one of these dota 
draw perpendicular lines to Line Two. Lines are Number 4, 5 and 6; betweien 
Lines 5 and 6 draw short Line 7 from Line Two. Measure up on Line One 
from first Dot 5^ inches dot, this is the Rise of the Back. From this point 
draw short line in. Measure in 1^4 inches and up J4 o^ ^^ inch. Take Red 
Curve and draw in the Back of Neck. Between first dot on Line One and 
the Rise of the Back divide into ^ dot, draw line across to Line 4 dot, and 
then one inch above, dot. Take Red Curve and put V 2 (Forming Back Rule) 
on Back of Neck dot and draw back shoulder seam down to the one-inch dot 
and J4 o^f 3n inch beyond. Take Red Curve (Arm Syce Curve) and place 
V 7 (Face Down) touching Line Three and draw back of arm hole around to 
back shoulder seam. Leave space about ^ of an inch from Line Four. 

Take tape measure and measure the distance across from first dot on Line 
One to End of Shoulder Seam (dotted Line across Back Yoke). Take this 
amount and place it on C, then place your finger on 11 inches. (The Pitch 
of the Shoulder.) Take pencil and the end of the tape and from the end of the 
Back Shoulder Seam swing and draw in Slant of Shoulder. Take IJ/^ inches 
out of your tape and place same at C and then continue the tape up to 9 inches 
(Arm Syce Measure) dot on Line 7. Take Red Curve and place V 1 of 
(Forming Back Rule) on dot on Line 7 and draw in the length of the Front 
Shoulder to point on Shoulder Slant Line that corresponds to Length of Back 
Shoulder. Then take Red Curve (Arm Syce Curve) Face up and draw in 
the front of the arm hole, resting curve on Line Three and continue around 
through shoulder Seam point. For Neck take Red Curve (Arm Syce Curve) 
and place 1^ inches (Back of Neck) measurement already used on dot on 
Line 7. Divide neck into one-half and let this amount rest on Line 6 and 
draw in the curve of the neck. 



One hundred thirty-five 



Other Children Sizes 

2Yr, 4Yr. 6 Yr. 8 Yr. 10 Yr. 12 Yr. 

Arm Syce 6 7 8 9 9]/^ lOJ/1 

Pitch of Shoulder 8 9 10 11 11^ izy. 

Width of Back 4 4i/^ 4^ 5 5J4 6 

Cont. Measure 7 8 8]^ 9 10^ 11 

Chest 12 13 131^ HJ^ 16 17 

Length of Front 11^ 12^ 13^ 14 16 18 

Waist 20 22^ 24^^ 25^ 28 30 

Neck 9% lOH IIH 12 12^ 13 

Length of Skirt 11 13 14^ 16 20 23 

Rise of Back 4^ 4^ 5 5 6 6?4 

Sleeve to Elbow 6 6^ 7^ 8 9^ 10 

Elbow to Wrist 5 6 6^ 6^ 8 9 

Back Neck IJ^ 1^ 1^ 1^ 1^ IJ^ 

Between B and C on Line Three divide into one-half, dot, from this point 
draw straight Line down to indefinite length. For Waist Line take tape 
measure and take ly^ inches out and place on dot on Line 7 and continue 
down and place length of Front measure, which is 15 inches, on Center Front 
Line, dot. From this point draw your Waist Line straight across to Center 
Back. On each side of Dividing Line under the arm measure J4 of an inch, 
dot, and draw from these points up to dot under the arm. From Waist Line 
continue your Dividing Line down 17 inches and measure out on each side 
one inch dot. Then draw to opposite sides. It is necessary in separating 
pattern to either trace off Back or Front of draft as the Skirt of the Patterri 
overlaps. You may spring the Block by dividing the Back and Front into 
^ dot, and then J/^ on each side. Draw lines straight up to Chest Line, open 
and insert spring one inch at bottom and taper up to nothing. 



Modeling 



1. Take your regular working block and to make a tight bodice effect 
reduce the Waist Line as follows : Measure the distance on Waist Line with 
your Blue Square from Center Back to the ^ inch in dot on Back side seam 
line. Take this amount and place the same on the ^ inch dot on Waist Line 
in Front. Then look to measurement on Blue Square that is Yz of the Waist 



One hundred thirty-six 



Line Measurement and dot on Waist Line. From dot draw up to Center of 
Neck and Center Front Line. Lay this Line on the Center front fold of the 
material and this serves as a dart. The Back is cut the same as regular Block. 

As in the transferring the Models from the Sketches to the Patterns in' 
the AKladi Models, the rules for the Children's Clothes are done likewise, 
the difference being smaller thirds. Taken from the thirds of the width of 
the neck. The neck divided in three even portions. The amount in thirds are 
transferred by inches to pattern just the same; as the larger Models. 

Lay pattern or Block on fold of material or paper and proceed to measure 
off in thirds on sketch transferred to inches on pattern. Measure; 1^ thirds 
from shoulder tip up, 1^ inches on pattern. From point of neck down 2^4 
thirds on pattern 2J^ inches transferred. The center front decolleite is 3 
thirds transferred is 3 inches. Under arm is 3 thirds transferred is 3 inches. 

The sleeves are just straight pieces curved to arm hole. The width is 
made from one-third above elbow to shoulder strap. With extension of two- 
thirds below arm hole for length. The end is edged with hand made French 
Flowers along sleeve and a garland across Front and Back. 

The Back of the Bodice is drafted out the same way. 

Skirt: Take yoiu" regular skirt block and spring every inch up to waist 
line. Take and dot every inch on bottom line of skirt. Make knee length. 
Draw lines from each one of these dots to waist, open and insert springs one 
inch at bottom tapering up to nothing. If same is desired extremely, full 
spring every half inch. 

The Model was made up of Pink Chiffon Taffeta with white chiffon 
sleeves. The French Roses were of Pink Taffeta with centers tinted into 
deeper shades. The skirt was faced with Pastel shade of Blue and an edging 
of smaller roses underneath around edge. Pink and Silver faced Ribbon and 
small bow at waist. 

2. Take your regular working block and transfer into a Kimona Block 
with the same rules of the Grown Ups. Take Red Curve and put in drop 
shoulder as you do the Drop Shoulder Night Gown Block in the, Lingerie. 
Put V 1 at neck point, draw in length of shoulder A% inches, then take Blue 
Square and continue that line 4 inches down. Take V 5 of Red Curve and 
place at arm-pit and draw curve up to shoulder point. Same applies to back. 

For width of Yoke measure down 1% inches from neck point and 1% 
inches center front. Draw curve of top line of yoke. Measure) on shoulder 



One hundred thirty-seven 



down 4 inches on shoulder seam dot, draw the bottom curve line of yoke. 
The back is done the same. 

Take the Regular Block with the skirt attached for the Panel (this is 
unsprung). The width of the Panel is 2 inches over from Line One. The 
length is from the end of yoke to hem. The position for the Plaits is 4 inches 
below waist line and the width of the plaits are 2 inches each. Do not draft 
plaits in pattern but fold them in the material to the size and then put the flat 
pattern over the same. Place Lines where they are to go exactly upon the 
plait. Skirt. Separate the skirt portion from the Block and spring from the 
Bottom up five times. The Back is done the same way. Panel and skirt. 

The Model was made of white crepe de chine. White ribbon formed the 
shoulder circle formation. Around the skirt two rows of ribbon lined and 
threaded through the plaits. Red cherries and leaves were placed at waist. 
The Pantelettes were of white crepe de chine and lace. 
To draft Pantelettes take the regular skirt block and measure down on 
the centear front line about 10 inches for crotch. (This measurement varies, 
so it is better to take same on children's.) Then from that point measure 
out ly^ inches. Draw from that line up to waist. From the crotch to bottom 
draw line. Measure around the leg loosely and divide into one-half. Measure 
that amount over from center front dot, and draw from that dot up to waist 
line. Back is done the same way, only measure down center back ^ inch 
more; instead of 10, measure 10^ for crotch. If you desire fullness, spring in 
the amount where it is desired. The Model shown is put on an elastic waist 
band and aroimd legs. 

3. Take your Regular Kimona Block and prepare same for the straight 
line neck. Take one inch off of the front and place on the fold of the material 
or paper. Pinch out on center of shoulder a one-inch dart and add one inch 
under the arm. The measure down from neck point is 2^^ inches; center 
front, 2 inches. Then draw in the curve of the neck. Back : Match the edge 
of your sleeve and run shoulder seams together then pinch out one inch at 
top of shoulder seam. 

For loop panel at sides of waist line measure out 2 inches. Draw line 
down length parallel with side seam line. Two inches below side line of panel 
draw line straight across for end of Blouse. Two inches over on this line 
from side seam line dot. Then from this dot, draw your other side of the 
panel parallel with the other side. The loop is 5 inches with an extra added 



One hundred thirty-eight 



inch for the turn and turn again at the waist line, making 7 inches added. 
As it extends 5 inches below the skirt hem, the added amount would be 12 
inches. The Blouse is sprung three times between the panel and center front. 
The Back is sprung the same way and has the two-inch extension. The 
Panel is cut on the front only. 

The skirt is the regular block sprung three times, sending your springs 
through the waist, one, inch at bottom and one inch at top. Back made the 
same way. 

The Model is put together on a plain lining. 

The Model is made with white crepe knit for top and panel faced in 
white. The short skirt is of black velvet. The embroidery of the Blue Bells 
are done in the natural colors. 

4. Take your regular Kimona Block. For straight neck on small sizes 
like 4 year old take one inch off of front only. For center front place on fold 
of the material or paper. Measure 2 inches down from neck point and 1 
inch down center front. Draw in neck line. Measure up 2 inches from 
elbow. Make curved part an inch at top of sleeve. One inch down on 
shoulder make button hole slot for tying together with ribbon. The same is 
tied on shoulder and not sewn or hemstitched together. Spring up three 
times from waist. Back is done the same throughout. 

The Skirt is sprung 14 times. Back and Front. 

The Model was made of white silk voile with white taffeta ribbon sash.i 
The flowers are hand made of very narrow ribbon. Shirr one side of ribbon 
up rather tightly and tack this ribbon on around and around forming flowers. 
Embroider the stem and the leaves in silk floss. 

5. Sailor Boy: Take your regular working block (unsprung). The 
first will be the Sailor Pants. For the crotch on center front of the Block 
on skirt portion divide into one-half and add two inches more onto same, dot. 
From that point measure out 1% inches or more. This particular measure 
depends entirely on the age of the child. From this point draw up to the waist 
line and down to the knee line. On waist line divide into one-half dot. From 
this point square off and draw a straight line with Blue Square down to ankle. 
Measure about two inches on each side of this line for width of ankle. Con- 
tinue your crotch line down to this point on left side. From Waist Line 
measure 4 inches down on hip. From this point draw a line down to point on 
right side of ankle. On right and left side measure out about I^ inches and 



One hundred fhirty-nine 




One hundred forty 



draw the curve of the flare gradually up to the knee. Open and spring two 
times for more fullness if desired. 

The Back is done the same with the exception that it is a ^ inch longer 
in the measurement for the crotch. If the crotch seems snug, add fullness by 
springing. This all depends upon the Child. To place the springs, divide 
between the waistline and crotch point into one-half dot, and between this 
point and crotch point Yz again, dot. Add a spring in about one-half the 
width at this point. And a spring one inch above and one inch below. Open 
and insert a spring one inch at bottom tapering to nothing. 

Open pants in front by cutting slot down from the waist between dividing 
line and center front. Distance about half way between crotch and waist line. 
Put flap underneath that will blind back to center front, so that it can button 
underneath. And on top piece add a band that points at end with snap 
underneath and a button on top, so it can fly back and snap and button over 
the blind center buttoning. 

Blouse : Add two inches out on your regular block and two-inch exten- 
sion below the waist line. Draw line up through these points to under the 
arm. Cut V out in center front about one inch below Chest. Use the same 
V with added seams for the inserted piece. Cut the round neck one inchi 
lower than block neck. 

The Sailor Collar is drafted by getting the measurements of length of 
shoulders, then adding the curve of the neck and side neck. With an exten- 
sion in back of 6 inches. The lapels or front extension are measured by secur- 
ing the length of the V and adding the same to the collar. Add an extra inch 
around neck line. Cut every inch for putting collar on. 

The sleeve is a regular one-piece sleeve obtained by putting back to back, 
top and under pieces of sleeve blocks. The cuff can either be a turn back 
or a straight cuff. If it is turned back double if a straight cuff cut single and 
face. Measure the wrist with slight allowance for freedom and round comers. 
^The Model was made of White Duck faced in blue for the Blouse. 
Trimming in Red, White and Blue Braid. Embroidered in Red, White and 
Blue Worsted. The Pants were of Blue, light-weight serge. The Tie of Red. 
6. Take your regular working block in the size desired and we will draft 
the blouse first. Put same on fold of material or paper. On shoulder measure 
down one inch from neck point and with a Yz inch extension beyond end of 
shoulder seam. Put in a straight shoulder seam. Under the arm drop one 



One hundred forty-one 




One hundred forty-two 



inch and measure out one inch, as same is a large arm hole familiar to a 
Blouse. From waist line measure out 2 inches and drop down 2 inches for 
the blouse. Spring three times up as far as you need fullness. Back is done 
the same with the exception you do not add the one inch under the arm. 

Sleeve : Measure the arm hole around and draft a sleeve as you would a 
Grown Up's. Separate and make a Bell-shaped sleeve as to the Rules of the 
Grown Ups. Separate two inches so there will be fullness to put back on a 
wrist band. Secure the length of the wrist band by measuring the child's wrist 
to the amount desired. The cuff of our Model was about 6 inches in length 
and 3 inches in width (make double). Round the corners in about 1 inch 
proportions. The collar is a straight-piece, spring 3 times in the back and 
about 2 inches in width. The Front piece is a 1^ inch band, doubled and 
added afterwards. The same extends about 2 inches below the chest. 

Pants : Between Waist Line and Knee it is a good plan to measure and 
then divide into y^, and to the amount add 2 inches for the length to the. 
crotch. If it is a regulation size on a 4-year old, it will measure about 8 inches. 
Measure down on the center line of the skirt block 8 inches, dot; measure 
out lYi inches, dot. Draw line up to the waist line and down to the knee: 
For width around the knee measure the Model or take regulation size, which 
is 61^ inches, dot, and from that point draw up to waist line. After the knee 
is measured, take ^ for the front and ^ for the back, add the amount of 
extension desired. The Back is done the same, with the exception of ^ inch 
added to the length of the crotch amount. For the suspender straps make 
bands about 1 inch in width. 

The Studio Model was made of Pongee Silk for the Shirt Blouse. The 
same being stitched in red. The Pants of Navy Blue velvet is stitched in red. 
Girl's Coat. 

7. Take your regular Kimona Block and reduce the Body part to a 
Tight Bodice. Proceed to do this as you did the Number One Model for a 
Tight Bodice. The only difference is you are working on a Kimona Block. 
After the same is done make your Waist Line Wi inches above the Normal. 
Add one inch on top and bottom of the Kimona Sleeve and taper your lines up. 
Spring one inch for fullness in center of Sleeve. The Back is done the same. 
The collar is a regular straight piece of fur doubled. 

Skirt of Coat : Take your regular skirt block and spring up every inch. 
After the same is done from the top spring down every other spring. The 



One hundred forty-lhree 



Back is done the same as the Front. The bottom is banded in fur. 

Cape of Model : Take your regular working blocks and put shoulder to 
shoulder. The length is about 6 inches below the waist line Back and front. 
As the Model is only a Semi-Cape, the same is taken oS U/z on front neck line 
from shoulder seam. Curve your bottom line. 

The Model was made of Black Satin lined in white crepe de chine. The 
fur was of white American Broadtail. 

Boys' Coat (Double Breasted) : 

8. Take your regular working block in any size, with skirt attached. 
Put on piece of material or paper. Measure out from shoulder seam % of an 
inch and imder the arm one inch out and one inch larger. Sketch in new 
arm hole from these points. At the bottom of skirt measure out two inches. 
Draw line from under the arm down to that point. Between Line One and 
Side Seam line divide into points for three springs. Spring one inch at bot- 
tom, tapering up to nothing at chest. 

As the Model is double breasted, it is necessary to turn another piece of 
material or paper under and draft the opposite sides separately. Extend 
below Line One about an inch and a half and from that point trace directly 
up to neck line. After tracing the neck turn out the part that is folded imder 
and continue the bottom line to the end of side seam for the lapel and collar. 
When the double breasted extension is turned out from the traced neck line, 
measure up one inch and draw down to about one-half inch above center 
front line. Then draw a straight line about 2 inches long (this amount will 
vary) to neck line. For collar take a straight piece of material about 8 inches 
long or that amount sufficient for a collar smd place on the front so the edges 
will match up. You will also have to even off the straight piece on center 
front and the slight curve of the collar line. 

The Back Block is treated the same for a coat, with the exception that it 
is sprung seven times. 

In regards to suggestions for the Tailored effect for this coat, turn to the 
Suggestions in the Tailored Woman. 

This Model was made up in Camel's Hair Material of a light tan shade. 

9. Take your regular Kimona Block and draft your Drop Yoke Block 
the same as the rules in Number 2. For the Body portion of the Model' take 
your regular Kimona Block and spring 15 times. Then measure down on the 
shoulder seam and center front in inches where your Yoke will come and draw 



One hundred forty-four 



a corresponding semi-circle line so yoke will fit on properly. The fullness 
that you will have extra from the regular Kimona Block gather up onto your 
drop yoke. Spring sleeve 3 times for fullness. 

For the Bloomers: Take your regular unsprung Block. Top portion to 
be used for tight lining and skirt portion for Bloomers. For crotch measure 
down 65^ inches on Center front line and from this point measure out 1^ 
inches, dot. Draw line up to waist line and a line down to the knee. Make 
about 3 inches longer if you want a good size puff. Measure the knee around 
for the width and divide into Yz for Front and Back. Take Red Curve and 
draw in the curve of the side seam. For fullness spring from the bottom up 
clear through waist line one inch bottom and one inch or one-half inch top. 
This is all according to fullness desired. The Back is done the same. Make 
on elastic banding top and bottom. 

The Model was made of white linen hemstitched throughout by hand 
(in black thread). The Bloomers were of black taffeta. 

10. Take your regular Kimona Block (unsprung). Apply straight neck 
according to the customary straight neck rule. For position of neck line 
measure down on shoulder seam 2^/i or Z inches and 1^ in front and draw in 
the curve of the neck line. The length of the Model is about 4 inches below 
normal waist line. The springing is optional. The length of the sleeve is 
about 3 inches under the arm. The collar is a bias length about 2 inches wide 
doubled. 

The plaited skirt can be produced by putting in the plaits in the material 
and taking the regular unsprung block and laying on top of the same. Then 
pin flat and cut out. Or same may be produced by taking the regular block 
and allowing three widths of material or paper. That is two extra besides the 
original block. Use straight line for side seam of block. 

The Bolero Jacket is cut from the regular Kimona Block, allowing 
sleeves to be 1 inch wider and 2 inches longer. For fullness or body part 
spring three extra times from the bottom line up. The length of same is half 
way between Normal Waist Line and Chest Line. 

The Studio Model was produced in White Jersey trimmed in Monkey 
Fur and white organdie collar. 



One hundred forfy-fivg 



iKRTi JUMPff. 



SLfrn 




itmr-CArt CfBii'TiOM. 



One hundred forty-six 



Outdoor Sports Models 

Outdoor Sports Models are sporty apparel designed for Country wear. 
The art of furnishing to the apparel the smartness and comfort for the Town 
and Country Sports Wear. 

Sports goods is a department in Designing entirely by itself, a real 
mannish simplicity. 

The Art of Designing in this Branch is the creating of Novelties of Art 
for practical diversions. For example, the Sports Models given. The Ward- 
robe consists of: 

1. Knickers. 

2. Sports Jumper. 

3. A Skirt that is convertible into a Cape. 

4. A Negligee Coat Shirt. 

Exhibition No. 1. The Model displays the Jumper and Knicker 

combination. 
Exhibition No. 2. The Model displays the Negligee Shirt and Skirt 

combination. 
ExJhibition No. 3. The Model displays the Skirt now converted into a 

Cape and Knickers. 
An Outfit complete for Outdoor Life. And a suitable wardrobe for a 
Smart Week End Kit. 

Your Lines in Outdoor Sports Models become inventions and useful 
ideas. Everything must be simple in character and line and with durableness. 



Modeling 



1. Knickers. 

Take your regular working Block and extend your lines down 26 inches 
below the Tight or Normal Waist Line. Do not Spring. Take Blue Square 
and measure down on a straight Center Front Line 14 inches for the crotch 
dot. Measure out either 2 inches or whatever extension is needed in the 
Model. From the crotch point draw up to center point Waist Line. On the 
bottom line (which is supposed to represent the length from the Waist to the 
Knees), measure one inch from straight line dot. From this point measure 
across ^ of the knee measurement. Here it is 7 inches dot. From these two 
dots on the bottom line measure up 4 inches for the tight part of the knickers 



One hundred forty-seven 



dot. Draw lines up parallel to straight front line. From the front 4-inch 
point draw a line up to the crotch point. On the side line between the waist 
line and the 26-inch point divide into one-half, dot. From this point measure 
out 2 inches dot. Take Red Curve and draw in the curve of the side line of 
the Knickers. Or this may be added in by free hand drawing. Draw line 
from the Waist to the top of the 4-inch point on the right side. On Normal 
Waist Line between Center Front and Side Seam Line divide into one-half 
dot. At this point mark for a dart. Or you may make two darts (smaller 
in size) on each side. 

The Back is done the same with the exception of the fullness applied in 
the seat. Divide between waist line and crotch point into one-half dot, then 
divide into one-half, again dot. At this point insert a spring i/^ width in and 
a spring 2 inches above and 2 inches below. Spring one inch at bottom, 
tapering to nothing. The 4-inch point is measured up on the Center Back 
Straight Line. On the bottom line you measure over the ^ of the measure- 
ment of the knee just the same as the front. All the other rules for the Back 
are the same. 

Build same on a 1^ inch Belt. 

If you wish to add pockets you cut as follows: Measure 2 inches down, 
3 inches over from the Center Front dot. Draw 2-inch line. Measure 2^4 
inches down from belt seam point on side seam line. Draw a line from this 
point over to the 2-inch point. Cut the Body part of the knickers along this 
line. Also cut the separate extra piece for the pocket with an extension that 
goes 2 inches below the top line of the pocket. Add your belt straps or 
slots. Add extra blind piece on one side for 4 buttons (Center Front). One 
side make double for button holes. 

2. Sports Jumper. 

Take your regular working block and add your Semi-Fit Silhouette 
Lines 15 inches below Tight or Normal Waist Line. Spring every inch from 
bottom line up to Semi-Fit Waist Line. Add straight Shoulder seam. 

The Flap front is made by measuring 2 inches over from Line One on 
Chest Line and dot. On Neck line from Center Front and Side Seam divide 
into one-half dot. From this point draw a line down to dot on Chest Line. 
When a line is cut open you will have to add an extension to one side so it 
will be a blind piece to go vinder for buttons or fasteners for the othfer line„ 
For pocket divide into Yz on waist line dot. Measure 2 inches down, dot. 



One hundred forty-eight 



Draw line 3 inches for width, dot. Then measure across 4 inches, dot. Draw 
from top dot down to this point. Cut open and bind edges. 

The Sleeve is a regular sleeve reduced to a tight Model. Making about 
6 inches around wrist, graduating up to arm hole. 

Measure the collar from the Line of the flap front. Aroimd neck from 
one side to the other. Draw a straight line to the amount of this measure- 
ment. Divide line into one-half dot. Measure up the back of the neck meas- 
urement at this point. Draw a straight Une up the width of the collar. At 
each end draw straight Hne up the width of the collar. At this point measure 
out the back of the neck measurement, dot. Draw down from this point to 
the end of the collar. Curve the edge line of your collar. There is no spring- 
ing in this collar. 

3. Neglige^ Coat Shirt. Follow same by the heavy dotted lines on 
diagram. 

Take your regular working block and add the Semi-Fit Silhouette Lines. 
Make same 15 inches in length below Normal Waist Line. Divide into one- 
half on side seam between Waist Line and length line dot. Measure in one 
inch at this point and start curve for the tail of the shirt. Extend each side 
of the shirt one inch center front for the buttoning. The Back is done the same. 

Negligee shirts have yokes, so take your regular working block and 
raise the shoulder seam line until it rests directly on top of the shoulder. 
This is done by adding one inch up on back and arm hole point. From this 
point draw seam to neck line. Front measure down one inch on arm hole line 
dot. From this point draw line up to neck line. Take these two straight 
shoulder seam lines Back and Front and put together. In center back measure 
down one inch dot. Yz in from shoulder seam line on arm hole Hne dot. 
Draw a line from this dot to center back dot. On Front on arm hole line 
measure 1]^ inches dot. On neck line measure 1^4 inches dot. Draw line 
from this dot to the arm hole dot. Trace off your small yoke. Also the seam 
lines for the Body part of the negligee shirt. 

The Sleeve is a regular sleeve with seam transferred to under the arm. 
This is accomplished by taking the regular block. Cut same at the elbow. 
Place top piece so Line One will become straight. Take the under arm piece 
and cut directly down the center and place each piece in regular formation on 
each side of the top block. So that the under arm arm-hole line will continue 
around. Separate at the bottom about one inch on each side; of the top piece. 



One hundred forty-nine 



Measure up 3 inches from wrist and draw botton line across at this point. 
As cuff goes on. 

"^ Cuffs: Measure wrist around and make line that length. Measure up 
the width and draw a line up to that amount. Double same as the cuff is 
folded. This cuff is 3 inches in width, doubled makes 6 inches. Round the top 
c'orners to about one inch each side. Put button holes clear through. 

Soft Collar: Measure neck around and make line to that length with an 
extension of one inch on each side for the buttoning. The height of the 
collar band is 1^/2 inches. Curve one side and slant the other. The collar* 
portion slants from the one inch point in on top of neck band. The width on 
the ends are 2J4 inches and in the center back 13/^ inches. Sew the collar 
onto the neck band. 

4. Skirt. Which is transferrable into a Cape: 

Take the bottom portion of your regular block and add the lines of a skirt 
30 inches in length. 

Make the Belt tight and place the same on th^ Chemise Waist Line. 
Make about 2 inches in width. Make extension of one inch for the round 
ends and fastening. 

The skirt is in one width and has one seam on right side which is only- 
snapped together. Allow about one inch extension on each side for over- 
lapping so snaps can be used. The skirt is put onto the belt in graduated 
fullness. Fringe the edges. 

This Model comprising all pieces was made of Henna colored Tweed. 



One hundred fifty 




One hundred fifty-two 



Fads in Fashion — 
Circular Capes 

Fads in Fashion are whims of different kind of garments, like the Cir- 
cular Cape that become popular in different repeated years. 

The Circular Cape is one of the most successful Models in Fads in 
Fashion. It has made its popular appearance in several alternating Seasons. 

In Designing the foundation of a cape the Lines are mostly repetition. 
The true Lines of a Cape are classified in Circular, Semi-Circular, Straight 
Hang and Drape. The new ideas come in the creation of Collars, Yokes and 
other adornments familiar to free-lancing of Lines. For example, Cascades 
and Panels are successfully used. 

For material in a designing sense either think out adornment that has a 
pendulum effect, or an idea that is inserted for the Body part, or Bands 
placed circular, like binding with hoops for effect. Encircling with Bands is 
always a Fashionable idea and logically correct. 

Modeling 

Three Piece Back (to be used in Tight Bodices or for forming Circular 

Capes). 

Take the Back of your Regular Working Block. Measure down on 
Center Back Line from Normal Waist Line ^ of an inch dot. Draw in 
indefinite line. Measure on same one-half inch dot, one inch dot, and one- 
half inch dot. On Line Four between point where Back Shoulder Seam 
Intersects and Point B on Line Three divide into one-half, dot. Take your 
Red Curve and place V 5 on the two last dots on short line and draw in your 
dart tapering up to point just made on Line Four. Make the slant of the 
dart curve the same. Take Blue Square and draw in your Center Back dart 
Line up to center line of Yoke. From the Dot made on Line Four measure 
down 114 inches dot. With Blue Square draw from this point straight down 
to Normal Waist Line. From the end of this Line measure to your right 
two inches dot. With Blue Square draw up to the 1^4 inch mark on arm hole. 
Below Waist on under arm line measure down 4 inches and out to your left 
one inch dot. Take Red Curve and place V 3 (Face Down) and place on 
Waist Line and draw in the curve of the hip. Divide the points on Normal 



One hundred fifty-three 



Waist Line forming the; 2 inch dart. With Blue Square directly below that 
point measure down 4 inches dot. From the right hand side Line draw down 
through this dot and one inch beyond. Draw the left hand line down to that 
point. Under each line of the J4 inch dart on short line, measure down 4 
inches and dot. Then draw to opposite dots. On Center Back Une measure 
down and dot 4 inches. Draw from the ^ inch dot down to that dot. Now 
you have divided the Back into three parts, namely. Under Arm piece, Side 
Back and Center Back. You can also understand now where the 2J/^ inches 
was obtained for forming your Back Block that is used upon every Construc- 
tion Block. To separate trace off your different parts. 

Circular Cape 

For a Circular Cape take your Regular Working Block and your 3 piece 
back. Be sure that you have a large enough piece of material or paper to work 
your circular Cape Block upon. Take your Center Back and place in center 
and up to the edge of your material or paper. At the Waist Line measure 
over with your Tape, six inches dot. As near as it is possible, keep your 
waist line on a circular swing. At the dot that you have just made, place* 
your Side Back. From the Waist Line of the Side Back measure six inches 
and dot. At this dot place your Under Arm Piece, From Waist Line on 
Under Arm Piece measiure six inches and dot, then measure six inches more 
and dot, and six inches more and dot, making 18 inches separation. At this 
point and dot if correct yoiu: Front Blocks Normal Waist Line should be 
placed and Front and Back shoulder seams should meet. The separation in 
the various sizes from Under Arm Piece and Front Block will slightly alter. 

In the length always take the length from the Waist Line and measure 
down in inches from each main point. In measuring from the front: From, 
Normal Waist Line measure up on Center Front two inches and measure 
down from that point 

The circular edge will have to be drawn in by free hand. 



Military Cape 



Take your regular Front Working Block and your Three Piece Back. 
Place same on material or paper in the same manner but separatei in divi- 



One hundred fifty-four 



sions of 3 inches. In placing together it will make a dart on the shoulder. 
The length is made in the same manner as the Circular Cape^ 

Number One or Military Cape is a More desirable Model to cut with a 
seam on shoulder and down side. It uses the material to a better advantage. 

The Collar of this Model is all cut in one. You must first allow about 21 
inches in width for the cape part and collar. Fold material or paper so you 
can retain center back. Measure 10 inches up and dot, the width of the back 
of the neck is 2 inches and add two inches more for fullness dot. From this 
point add the length of your shoulder which is 6 inches. Draw a straight Une 
above for the collar. Five inches for height, one inch for turn and five inches 
for under side. Cut on neck line back to the 4 inch point. As the upper 
portion goes around the neck doubled for the collar and the lower portion 
for the cape and cascade. Direjctly under the 4 inch point and on the edge of 
the cape line continue to measure for the cascades. Add the length of the 
shoulder six times from the 4 inch point. Draw from point up to shoulder 
point. Slant the shoulder 6 inches down about 2 inches from shoulder seam 
and fold in cascade. 

The Studio Model was made of Satin Faced Crepe. The, color was black 
and the lining was white georgette. 

Number Two or Circular Cape: The Model was cut on the regular 
Circular Cape Block. The Shirring is added in the back. Started on waist; 
line and continued to under arm piece. The same^ takes in 5 rows of shirring 
an inch apart. This will take up back. Trim off evenly sides and front. 

The Collar is drafted by measuring the neck around about 2 inches out- 
side normal neck measiure. Draw a straight line to that amount and divide 
into one-half. Measure 2 inches up at this point and draw a curved line ta' 
end points. Draw a straight line up from each one of these end points. 
Measure up in center back the height of the collar. Draw a curved line and 
extend beyond the end perpendicular lines about the same amount as thei 
width measurement. From these points draw the same width measurement 
back to end of neck line. Spring 6 times from the collar line up f^ the height. 
This will give fullness around the collar line. This collar will drape aroimd 
shoulders and is only fastened in front by Metal clasps on fur. 

The Studio Model was made of Black Roshanara Crepe. Lined in 
platinum grey georgette. Platinum grey fox edges the collar. Same is 
clasped by an antique m^tal clasp. 



One hundred fifty-five 



Yoke Models 

Yokes can be drafted off of the Military Cape Block in any lengths. And 
can be seamed either on shoulder or in the back. After cutting the yoke off, 
the Designer may spring the cape of the Military Block from the top dowrt 
about 54 length and make a very smart effect. The number of springs accord- 
ing to amount of fullness desired. Or the Designer may just drape straight 
lengths from the yoke. 

Circular Yokes may also be drafted from the Circular Block. 



One hundred fifty-six 



Pft rersKixr. 



JtUii/AH TILCVll 




One hundred fifty-eight 



Jeune Fille Creations 
Linear and Aerial Lines 

Jeune Fille (Young Girls) Creations are more becomingly introduced 
through Linear and Aerial Lines. 

Junior Lines would suggest simpler modification of any Line. This is 
found readily in the Linear and Aerial adaption of Lines in Misses' Dresses. 

Intermediate Ages can either take the Linear Lines with the Straight 
and Slenderizing effects. Or Aerial Creations Bouffant in Line, in lovely 
frocks of sheer and filmy stuffs. 

Independent of Line we have creations of combinations of very different 
materials. For example, the slightly incongruous use of organdie for frocks 
that are usually made of silk tissues over an underslip of gold and silver 
materials. These faddist ideas are more or less Seasonable. We can recall 
a season or two ago when we had the handkerchief linen and taffeta com- 
binations in Models. 

Jeune Fille attire for Sports, Dinner and Dance — the eternal triangle — the 
use of these lines are foretold by Fashion Decrees. 

A wrong impression is to believe that Linear Lines are only used in 
Day Time Frock Designing and Aerial for Formal Occasions. Because it is 
just as correct in the Psychology of Line to be vice-versa. It is mixed lines 
in this department in Designing. Each having its own popularity with the 
Consumer. Types and Personalities can be suited with each style in their 
wardrobe. 

In the creation using Linear Lines use your Line Technique in Junior 
adaption (modify your line to become the Misses' Tjrpe). While in the Aerial 
Line formations and effects the Designer can be an extremist. 

In the Model illustrated the Bouffant Skirt (Aerial Line) of Organdie 
material is made over a foundation almost figure fitting of Printed Crepe 
material. This Day Time Frock of one of the newest silhouettes is befitting 
in line to the Young Girl Type (Jeune Fille). 



Modeling 



The Model either can be made up with the Russian Blouse or the Regular 
Chemise Kimona Blouse effect. The Illustration is the Regular Chemise 
Kimona Blouse. 



One hundred fifty-nine 



For Kussian Blouse : 

Take Regular Kimona Block for your silhouette line and add 3 inches 
at the Chemise Waist Line, .dot. Draw from point under the arm down 
through this 3-inch dot and extend about 6 inches beyond Normal Waist 
Line. Then add 3 inches extra for the Blouse. For fullness add 3 to 4 
springs, according to the fullness of the Model. Drape below Chemise Waist 
Line on the Model. Add Bateau Neck Line in the Regulation manner. 

Back is executed in the same manner. 

The Neck on the Model is 3 inches down from Neck Point on Shoulder 
Line, And 2^4 inches in Center Front. The length of the Kimona Sleeve 
is 3 inches under the arm. The inserted V Pin Tucked Ornamentation extends 
1J4 inches below Chest Line. From this point draw line up to circular neck 
line. 

The Illustrated Model is made upon the Regular Chemise Kimona Blouse 
Block, with regulation Bateau Neck Line. The extension of Blouse is 6 inches 
below Normal Waist Line. The Fullness is added by three extra Springs. 
Back is the same. 

It is preferred that the Russian Blouse be used with drapy materials 
like Paulette Chiffon or Voiles. In using Organdie the straighter lines are 
preferable for the Blouse. 

Sleeve: Measure the edge of the Kimona Sleeve. Round and draw 
line to the width. Then measure from sleeve edge to the v^rrist. Draw 
length to that amount. For fullness spring three times from the bottom up 
y/^ the length and two times from top down % the length. Gather top on 
Kimona Sleeve and bottom on tight ribbon band size of wrist. 

BoufFant Skirt: The outside skirt is made of two widths of material 40 
inches in width, 40 inchete for Front and 40 inches for Back. The same is 
plaited evenly onto the waist band. Put most of the fullness on the sides. 
Drape the same on the Chemises Waist Line on the Model. The length to 
be about 36 or 38 inches. 

The pin tucks in V shape design are added extra to the facing. Which is 
made to appear as a large hem. Which extends about 3/^ the distance up. 
Measure about 12 inches from the Normal Waist Line dot, from this point 
measure distance to edge of skirt. This will be the length of the facing. 
Divide the width of the Front and Back into thirds, dot. Place the V shapes 
of the Pin Tucks Ornamentation accordingly. Arranging about 4 or 6 



One hundred sixty 



according to the size of the Model. Point these about 4 inches from edge. 
These tucks are placed in facing and hemstitched in. Facing placed under 
the skirt portion. And the Studio Model was hemstitched in. Back is pro- 
duced in the same manner. 

Corset Cover Blouse: The Bodice of the underslip is made from the 
regular working block. Measure out one inch under the arm and 2 inches at 
the Chemise Waist Line. Draw from point under the arm through point at 
waist line and extend 6 inches beyond Normal Waist Line. For fullness 
spring 2 times. The Bodice is cut off 2 inches below Chest Line. If not tight 
gather slightly onto draw ribbon. Add Shoulder Straps of ribbon. Drape on 
Chemise Waist Line on Model. 

Back is produced in the same manner. 

Peg Top Skirts: Take regular Skirt Block that has been sprung three 
times and spring 6 times from the top 3/^ of the length down. Back is done 
the same. This makes a regular peg top skirt rather narrow. If you desire 
more fullness, spring 6 times from the bottom up ^ the length. Cut same, 
off at the Chemise Waist Line after the springing has been added. 

The Studio Model was made of an underslip of gold cloth and the over 
dress of yellow organdie. The pin tucks were of white organdie made with 
black thread and hemstitched in black thread. Wristlets and shoulder straps 
of inch black grosgrain ribbon. 



One hundred sixty-one 




Ow hundred sixiy-two 



The Tailored Woman — 
Heights and Altitudes of Lines in Clothes 

The Tailored Woman is ultra smart in Models of artistic simplicity and 
restraint from too much ornamentation. 

The Models should be chosen in design of Line by rigid standard of 
correctness. 

The Lines of a Tailored Model should be technical (Useful in Origin). 
In designing, the Designer should create his Line to pertain to the useful 
arts. For example, design the Line of Adornment into a pocket or etc. 

The term. Technical Lines, strictly speaking, embraces all lines that 
have for their object the direct preparation or construction for the Model. 

It is the Art of Designing and applying lines that are practical. 

Heights and Altitudes of Lines will govern in the Designing of the 
Lines for the Tailored Woman. 

Heights is employed in designing Tailored Costumes to find the relative 
elevation of points, leveling straight lines. 

Profile your lines to establish the grade of heights. For example, do not 
make a fancy side seam or a Trimming Line and stop it just below another 
line like the edge of a coat, but continue it up under this line. Or properly 
connect your lines. The points or lines maybe more or less intermingled on 
your Model, but degrees of accuracy must be performed. That is, make all 
lengths of line of adornment as nearly equal as possible. Also make them 
as long as possible. Or cut the lines by proportions. It is in this way that 
you profile the lines of your Model. Take the natural profile of your Model 
and eliminate any irregularities of line. Take into consideration your Divi- 
sional Lines, which are: Chest Line, Bust Line, Waist Line, Top of Limbs 
Line, End of Knee Cap Lines, Elbow Linee, Line One and Center Front Line. 
Also the Neck Line, Edge of Sleeve Line and Edge of Skirt Line. 

Select your Grade Line within the proper position of your Divisional 
Line, Your Grade Line is selected to begin the Lines of the Model from and 
is governed by the Design Visualized. Be exceedingly careful in placing your 
lines so you will not create a vulgar line. 

Altitude of Line is creating Line by elevation on graduated circles. By 
means of correct placing of arc of vertical circles and horizontal circular lines. 



One hundred sixty-three 



The angles of the Line thus decorating the Model are designed on the 
graduated circle. For example, if the sides are scolloped, divide the distance 
equally between top and bottom and make the curves the same sizes. 

The Line may refract or bend from a direct line. The dip of your line 
above or below your grade line must be applied with correctness of curve 
and distance. Divide equally from point to point across and up and down. 

Divisional Lines are used with the same guidance as in the Heights o£ 
Lines. 



One hundred sixty -four 



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Cue hundred sixty six 



Modeling 

1. Straight Jacket. 

Front: Take the regular working block and place on the edge of your 
material or paper. Place in a straight shoulder seam. Measure out one inch 
under the arm and three inches at the Chemise Waist Line. Draw from dot 
under the arm to dot at the Chemise Waist Line. Continue this line nine 
inches beyond the Tight or Normal Waist Line. As same is a Coat Block 
measure down on under arm seam one inch. Then add the corrected curve 
of the Arm Hole. Add 3 springs for fullness. It is also correct in Coat Block 
for extra width to add one inch in addition to the original inch from Block. 
The Jacket can also be used with a Regular Arm Hole. It all depends upon 
the Design. If a Kimona Sleeve is desired. Transfer your Regular Block into 
a Kimona Sleeve Block. 

Back: Take your regular working block and proceed the same as Front. 
With the exception that it is sprung 5 times for fullness instead of the 
Regulation 3 times. 

Sleeve : Rules for drafting sleeve with the seam under the arm. Measure 
arm hole draft sleeve to size. Continue perforation dots on same angle. 

Take the working block (Sleeve) and separate at the elbow. Take Top 
portion and place straight on material or paper. Place Line One of sleeve 
draft straight. Take Under Arm portion and cut into one-half. Then take 
the pieces and place on each side of the Top Portion in their continued posi- 
tions. Separate at the wrist two inches on each side of Top Portion. After 
Block is cut spring 5 times for fullness. 

Collar: Measure around neck line of Jacket. Draw a line to that 
amount. Width of collar is 2i/^ inches. Draw top line of collar and edges. 
The curved edge takes the curve of 1^ inches in on top line of collar. 

Straight Line Costume: 

Take regular Kimona Chemise Block. Add your straight neck line, as in 
previous regulation rules. Spring Block three times for fullness. Separate 
the Block at the Chemise Waist Line. For additional fullness on the sides, 
take lower portion of block and on Chemise Waist Line divide between 
Center Front and Side Seam Line into one-half, dot. Between this point and 
the Side Seam add 3 extra springs about 6 inches in length. In placing 
Model together this gathers into fullness on the sides. Take Top portion of 



One hundred sixty-seven 



Block and add pinched fullness on neck line. The arrow on diagram marks 
the position for a one or two-inch spring. This addition when gathered into 
original neck line makes pinched fullness about 4 inches in length. 

Back is produced in the same manner. 

The Studio Model was of Henna piquetine. With the lower portion of the 
Straight Line Costume of midnight blue piquetine. The Straight Jacket and 
Pockets trimmed in black grosgrain ribbon. The same Idea of trimming is 
carried out on the Top portion of the Straight Line Costume. 

2. Semi-Tight Coat. 

Take regular block and place on edge of the material or paper. Add one 
inch under the arm, dot. Draw down from this point to Semi-Fit Waist Line. 
Six inches below Semi-Fit Waist Line measure out from Hip Line one inch, 
dot. From Semi-Fit Waist Line draw down to this point. Draw bottom 
line parallel with Semi-Fit Waist Line. Make front edge with 3 inch curve. 
For fullness divide on botton line into one-half and spring one time to Semi- 
Fit Waist Line. The long collar line extends from neck to about 2J4 inches 
below Bust Line. 

The silhouette of the Coat is drafted in the same manner for the Back. 

Sleeve. Take regular sleeve block and place on material or paper. For a 
sleeve with a dart from Wrist to elbow. Take the upper and lower portions 
of the draft and place the Backs together from the Top to the Elbow. From 
Elbow to the wrist separating. Reduce Block to tight fitting wrist pattern. 
Add from Wrist 1^ inches in extension, as the Model is below wrist line. 
For fullness divide into one-half and spring up to wrist point. Cut out dart 
between upper and lower portion in back of sleeve with a y^ inch seam. The 
remainder of sleeve is cut out in regulation form. 

Collar : Measure collar line on pattern or Model and draw a line to that 
length. Divide into one-half dot. At this point dot 1^/2 inches up. Make 
semi-circle curve to end of collar. At center point measure up the width of 
the collar, dot. From this point draw a corresponding curve to the end of the 
collar. Do not bring the ends to a too direct point. Leave a width of about 
one inch. Spring 3 times in back of neck for proper fitting of collar. Same; 
rules for Tuxedo Collar. 

Surplice Draped Skirt: 

Front: Take regular skirt block (unsprung). Place on material or 
paper doubled, as this is a surplice block. Measure two inches in on Waist 



One hundred sixty-eight 



Line from Side Seam Line, dot. From this point draw a perpendicular line 
down to edge of skirt. On this line measure down four inches, dot. From 
the end of this line on bottom line measure over 3 inches, dot, and from 
this point draw up to the 4 inch dot. From the 3 inch dot on the bottom line 
make a 2 inch or a 3 inch curve. On the perpendicular line between the Waist 
Line and the 4 inch dot divide into one-half, dot. Place from this point 3 
springs tapering in to about ^ distance with a separation of two inches apart 
at ends. One inch springs tapering to nothing. Trace off surplice lines and 
springs and turn the folded under portion of your material or paper out. Cut 
out the tracing with the proper seams. Then cut out the continued side of 
the Model. Place in springs after the surpHce is folded out. When the 
Model is put together the springs or the added fullness is clustered up into 
a draped effect. 

Beck: Take regular unsprung block and place the front block with the 
side seams joined. Measure over for the piece that goes under the surplice 
side of the front. Measure over on Normal Waist Line and bottom of skirt 
line 6 inches from Side Seams, dot. Draw perpendicular line from points. 
Trace off added portion with the curve of the Waist Line. 

There is a side seam on right-hand side only. On the side that folds, 
under, a garter is attached, so, when worn, it will not open. 

The Jacket of the Studio Model was made of Black Duchesse Satin 
with a White Duchesse satin collar. The skirt of White Broadcloth. 
3. One Darted Coat. 

Front: Take the regular working block and place on the edge of the 
material or paper. Add one inch under the arm, dot. From this point draw 
down to Tight or Normal Waist Line. From your Lining Blocks place on 
Block the positions for the two darts. Then add your one dart from the same 
rules. Divide your shoulder seam into one-half. Draw a seam line from 
this point to top of dart. Curve the Waist Line from Center Front in. 

Back : Divide between Side Seam and Center Back on Tight or Normal 
Waist-Line into one-half. Add one-quarter of an inch on each side of this 
point. Divide shoulder seam into one-half. Draw dart in with Blue Square. 
Measure out from Tight or Normal Waist Line ^ of an inch, dot. From this 
point draw side seam line up to under the arm. Slightly curve Waist Line. 
Peplum: Take the peplum or bottom part of your regular block and 
place on material or paper. Measure down on Hip Line 9 inches dot. From 



One hundred siTty-nine 



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One hundred seventy 



this point measure out 5 inches, dot. Draw line up from this point to waist 
line. Center Front measure down 9 inches, dot. From this point draw line 
to side seam point. For fullness and the flares add 7 springs. One inch at 
the bottom tapering up to nothing. 

Back is produced in the same manner. 

After the springs are added to the peplum, it is necessary to curve the 
bottom line. Gather onto the Basque Coat with a little fullness. 

Collar : For length of collar measure one inch wider than original neck 
line. Draw a line to that amount. Divide into one-half, dot. Measure up 
from this point 2 inches, dot. Draw the curve of the neck line to the ends of 
the collar. Draw perpendicular line up the width of the collar from the 2 inch 
point. (Twelve inches). Draw lines to the same amount from the ends. At 
top measure out on each side 2 inches (Back of Neck Measurenient). Draw 
lines from these points down to ends, then put in the curve of the edge of the 
collar. Divide the end lines into one-half dot. Draw a line out from this 
point to the same Yz length, dot. From this point draw line down to the ends. 
A and B lines are fastened together. For fullness spring 3 times top and 4 
times bottom. 

Draped Skirt: 

The diagram represents a Regular Figure or Form. Not a pattern. It 
is for the purpose of showing both sides of the Model. This draped skirt to 
be properly executed should be accomplished on a Living Model. 

Take the length of your material and drape it around the figure. Easing 
the waist line by taking up 4 to 6 inches. About 10 inches below the Waist 
Line extend your material out about 3 inches, gradually tapering the side 
seam inward. Sew up side seam, then gather drapery up into about 5 or 6 
rows of shirring. In back place two darts. You may also place this drapery 
into the side seams by plaits. It is well to hold same in position by placing a 
tape from the Waist Line. It will be necessary to trim around waist line. 

The Studio Model was made of Black Taffeta, with collar of Platinum 
Grey Grosgrain silk. The fox trimming was of Platinum Grey Fox. 

4. Russian Blouse Coat. 

Take Regular Kimona Block and measure out 3 inches at the Chemise 
Waist Line dot. Draw from under the arm down through that point and 4 
inches beyond. For the Blouse effect add 3 inches extra. If the Model re- 
quires extra fullness under the arm add one inch under the arm. For thej 



One hundred seventy-one 



lapel of the coat raise one inch in front above neck line and draw a line to 
point one-half the distance in on collar line. For fullness add 5 springs. 

Russian Blouses are generally made on a Regular Chemise Kimona Lin- 
ing (unsprung). Length to be 4 inches below Chemise Waist Line. 

Back is executed in same manner. 

Collar. Measure neck band around from point one-half way between 
center front and shoulder point. Draw a line to that amount of measure- 
ment. By same into one-half and dot. Measure IJ/^ (one and one-half) inch 
up (or back of neck measurement) and dot. Draw curved line to end of collar 
line. Measure up the width of collar at center point and end of collars points 
and dot. At each one of these dots measure out 2 inches and dot. From 
these points draw straight lines down to end points. Curve the top of the 
collar line. Make a two-inch cut at each end of the collar. This two-inch, 
cut is attached to the lapel of the coat (as per diagram). The lapel is also' 
folded back on the dotted line. 

Sleeve. As the sleeve is Kimona in Model to the elbow, it is only neces- 
sary to draft the lower portion of the sleeve draft. Take your uncut sleeve 
blocks (not cut at the elbow) and place upper portion and underneath por- 
tion back to back so they will separate 8 inches at the wrist. Then curve at 
elbow and curve same at wrist. Open and spring one inch in center of each 
block. A two-inch V-shape cut is made in the Kimona sleeve before the lower 
portion of the sleeve is applied. This is left open for the elbow to show. 

Band. The Russian Blouse has a Band attached to the Chemise Lining 
about 6 inches in width, with 6-inch extension on each side, front and back. 
Cord and Tassels are threaded through center on each side of the Model. 

Finely Plaited Skirt. 

Take your regular skirt block (unsprung). When the measurements are 
taken for the finely plaited skirt measure on the Chemise Waist Line. Length 
according to the prevailing fashions. Measure three widths of the Block from 
the Center front. Or two extra times from the side seams. After plaited put 
on an Elastic Waist Band. 

Back is produced in the same manner. 

The Model was made of blue Poiret Twill, with collar and band of Lame' 
cloth. Also gold thread cord and tassel. The Embroidery was of dull gold 
thread couched on in stitches of Oriental colors. 

5. Super-Tailored Coat. 



One hundred seventy-two 



Take your regular Kimona Semi-Fit Block (Sprung), so the Model may 
be cut with Front and Back on the Straight of the Material. Cut the Shoul- 
der seam up to the neck line and spread the Front and Back Blocks so they 
will lie straight with the material. By doing the same the shoulders will 
separate in a V-shape at the seam. Under the arm in Front and in Back meas- 
ure up two inches and dot. Draw the under-arm seams of Front and Back of 
Blocks straight out and connect by straight line at elbow. The dotted line 
of the diagram shows the Block spread and the heavy lines the New Block. 
So Model can be cut on the straight of the material. 

As the Silhouette of this Model is a semi-fit, draw lines Front and Back 
down to the Semi-Fit Waist Line. If more fullness is desired under the arm 
add another inch before drawing your side seam line. Continue from the 
Semi-Fit Waist Line to knee length on the sides. This is about 26 inches 
from the Normal Waist Line. The Coat points in Front and Back 32 inches 
from the Normal Waist Line. 

A Bias Band 6 inches in width is tailored on the bottom of the coat. 
Trimmed m flat roses and cording. 

Collar. Measure neck line around extending some distance from the orig- 
inal neck line. Draw a line to that amount. Draw straight lines up center of 
line and ends. Measure up center the width of the back of the neck. Draw 
curved line to the ends. Measure the width up on each line and lYz inchesi 
out on the side lines. Draw lines down to end points. Curve top edge with 
lYz rounded corners. This is a standing collar. To be stiffened with canvas. 

Sleeve. The draft is the same as the Russian Blouse flared cuff, with the 
exception of the 6-inch point placed center front and center back. 

Skirt. Take regular working block (unsprung). Spring through one- 
inch top and bottom in the center of the Block. 

The Back is done the same. 

Panels. The panels are 6 inches in width and extend 6 inches below the 
hem of the skirt. Same hang away from the skirt proper and are pointed. 

The Studio Model was of Black Serge trimmed in White Broadcloth. 
Flowers and cording of White Broadcloth. 

Linings. Cut lining from the pattern. Sew shoulder and under-arm 
seams, then place lining in coat, seam to seam. Sew lining around arm-hole. 
Place sleeve lining in last and fell. 



One hundred seventy-three 



Hand-Tailored Points 
Diagram in the Center of Chart 

1. The canvas front is hand padded to secure not only softness but flex- 
ibility; one of the most important essentials to produce style and balance in 
the garment. 

2. Canvas fronts are carefully hand pressed to develop proper effect in 
front of garment and that the shoulder may lie smoothly. 

3. Lapels are hand padded with small stitches to insure softness and the 
proper roll. 

4. The under collar is carefully padded by hand for pliability. 

5. The front darts are hand tacked with linen to hold the forepart cor- 
rectly on the canvas. 

6. The top and front edge of lower pocket are fastened to canvas by hand 
to give strength and insure the front being held in perfect position. 

7. Pocket welts are hand felled on all plain edge coats. Welts on all 
coats are tacked by hand to canvas with linen, to prevent sagging. 

8. The bridle is basted and padded by hand to the forepart and tacked 
on the collar so that the front may hang evenly. 

9. All flap pockets are bar tacked by hand with silk twist to give strength 
and durability to the pocket. 

10. Tape is hand felled to the canvas in the front of the coat that the 
edge may remain in a smooth condition. 

11. The outer edge of facing is securely hand tacked to the tape on plain 
edge coats to keep the edge firm and to prevent the edge from turning. 

12. The seam in the edge of the lapel is hand tacked to the canvas to 
keep the edge flat and to insure a solid effect. 

13. The facing is securely hand tacked to the canvas with linen thread 
to hold the front in place. 

14. The inside pockets are blind tacked by hand to keep the right front 
absolutely secure. 

15. The front and back-arm syces are drawn in by hand with linen thread 
with chain stitch to insure a well-fitting armhole and to give ease and flexi- 
bility without allowing the armhole to stretch. 

16. The under collar is put on by hand so that the length can be accu- 
rately adjusted and fullness properly distributed. 

One hundred seventy-four 



17. The under collar is hand felled to the neck gorge. 

18. The top collar is put on by hand so that the leaf of the collar may 
lie perfectly. 

19. The outer edge of the collar is felled by hand. 

20. The neck gorge is hand felled. The facing and top collar are drawn 
together by hand, not only where lapel meets collar but the entire length of 
the facing, so that at no point does the top collar overlap the facing. 

21. The buttonholes are all reinforced and made by hand. 

22. The sleeve vents and bottoms are felled and tacked by hand. Sleeve 
linings are also hand felled and tacked. 

23. The bottom facing of coat is tacked and felled by hand to the fore- 
part and linings are hand felled to the bottom lacing. 

The same super-custom tailoring must embody all Costumes and Skirts 
to Super-Tailored Models. 



One hundred seventy-five 



Color and Colors 

Psychology of Color in the Art of Designing is the sense or feeling of 
combining two or more colors that are sensitive and becoming vibrations. 

The sensitivity of Color is the quality sense that is felt in bringing 
together two or more colors; easily affected to the right or wrong combina- 
tions. Combinations are very susceptible to sensations when made of strik- 
ing and beautiful shades. 

The mastery of color is a difficult achievement. Surety is attained by 
using actual color sense or feeling to stimulate color vibrations. 

Brilliancy of coloring may be obtained by placing complementary colors 
side by side, because each lends to the other a halo of vibrating effect. For 
example, complementary color of Blue is Orange. In combining these colors 
you feel the sense of union of vibration or the rays of shade moving to and fro 
in complementary harmony waves. It is a complementary softness of hues, 
yet colorful. 

Let sensitiveness of color be combined. For example. Blue combined 
with Cerise feel the essence of vibration in almost electrical flashes in the two 
shades being combined. In your selections feel your colors as in the above 
examples. 

Do not be misled into believing that it is the electrifying effects in shades 
we must always use. For some of the most beautiful combinations of color 
are the cool shades. But the Psychological sense even in these must be used. 

As an Artist Designer use warm and cool shades and contrasting colors 
correctly. But the Designer must bear in mind his Season, Materials and 
the Model and the Consumers in Reality. 

Color Harmony is an Art, employed to produce a certain effect to the eye. 
Like a beautiful picture, Framed in Art of Lines, let your Colors bring forth 
Woman as Decoration. 

Harmony of Color is gained by giving the Model a prevailing color to 
which all others are subordinated. 

One of the reasons for the many adaptations from the Orientals is the 
sensitiveness and the realness of the rays of the effect of colors ; the warmth 
and natural effects. 

The Essence of Color is the vibration of the invisible light rays that 
scintillate from harmonious effects. 



One hundred sevenly-six 



Blend your shades in a natural feeling for the right and wrong of com- 
binations. Let this sense be gradual in its development through the beautiful 
colors of the Outside World. 

In blending daring colors work in a Free Lance sense by adding such 
touches in flowing Lines. 

Spontaneous action sometimes combines the most beautiful and daring 
effects in colors. 

Contrasting colors can be blended by separation of a neutralizing shade. 

Black and White are foundational and also Decorative. 

The following Color Combinations have been worked out under the laws 
of Psychology. 

Color Combinations 

Art of Combining Colors in Fashions 



Cerise and Grey. (Direct opposites — one intense and the other subdued 
— one is neutral and the other positive.) 

Coral and Lavender. (Harmonious combination.) 

Violet and Green. (Direct opposition in intensity but not in shade — 
still complementary.) 

Vermilion and Reseda Green. (The green supports the vermilion to its 
best advantage.) 

Periwinkle Blue and Vermihon. (Same reason as above only this time 
the vermilion supports the periwinkle.) 

Purple and French Blue. (A neutralizing color strong enough to dull a 
brilliant purple.) 

Henna and French Blue. (Different colors of the same value. The blue 
is a radiating dull color dulling a radiating bright color, red.) 

Orchid and Blue. (Pastel shades in delicate friendly colors. A com- 
panionship of colors. Rules for all Pastel Shades.) 

Mauve and Peacock Blue. (Middle value of intense colors.) 

Yellow and Cerise. (Balance of intensity.) 

Royal Blue and Light Green. (Radius.) 

Gold and Lavender. (Sameness of Quality.) 

Old Rose and Blue. (Accepted by descent and custom.) 

Purple and Tangerine. (An eccentricity of color combination.) 



One hundred seventy-seven 



Mauve and Emerald. (Colors of opposite value — one shade containing 
least amount of black and the other shade containing the largest amount of 
black.) 

Dark Green and Light Yellow. (Refinement of colors. A combination of 
a vulgar and refined color which gives a pleasing couple.) 

Absinthe and Cerise. (A combination used to avoid monotony of other 
combinations.) 

Gold and Turquoise Blue. (Colors combined that have the same intensity 
— different hues of same intensity creating a desired simplicity of color.) 

Old Rose and Yellow. (A satisfactory weak color. Combination in light 
and dark). 

Lavender and Medium Green. (One color lavender subordinates the 
intense green. It subdues the color to the eye to a satisfactory degree.) 

Emerald and Tangerine. (A true to nature combination. Natural colors 
pleasingly combined.) 

Cerise and Gold. (Different colors of the same intensity.) 

Absinthe and Blue. (Coordinating colors.) 

Lavender and Tangerine. (Refined and vulgar colors of same vibrating 
hues.) 

Mauve and Old Rose. (One predominating color to soften the other.) 



One hundred seventy-eight 



Material and Materials 

A Designer must know and realize the value of their fabrics before suc- 
cessfully handling Creations. It is very often that the handling of the mate- 
rial will suggest the Design or Line of the Model. The sensitiveness of treat- 
ment of two or more materials in the proper quantity. 

Realizing the combination of the grades of materials would influence 
Line. The Classification of Grades are Light, Light Medium, Medium, 
Medium Light, Medium Heavy and Heavy Weight Materials. 
Suggestion of Lines from Material Weights are: 
Light Weight (Free Lance Line). 
Light Medium (Clustering Lines). 
Medium Weight (Not Full Length ^4). 
Medium Light (Indefinite or Mixed Lines). 
Medium Heavy (Definite Lines). 

Heavy Weights (Technical Lines, pertaining to art and useful). 
For an example combine: Poiret Twill, a Medium Weight, with a Satin 
Canton, Medium Light Weight. The Combination of the two materials sug- 
gest Lines around 3/4 in length and mixed. As one material has a Semi-Body 
(Poiret Twill) and the other Flexible Body (Satin Canton), the Semi-Body 
Material would influence Lines like Panel Lines, while the Flexible Body 
Cascades. 

Manipulation of materials in the Art of Designing is a big asset. The 
Materials given are classified under the departments of Woolens, Silks, Cot- 
ton and Veilings, with a Technical segregation after each material. Over 
one hundred materials are selected for your classification, grading and Study. 
If a new material is created select its nearest relative material for classifi- 
cation. 

In the Psychology of the use of Materials and the combining of the same, 
consider grades. Also what quantities of materials are to be used. 

In designing Models made of two materials, build up the value of the 
Model with the proper selection. Work Psychologically with the use of 
Weights of Materials. For example: Take Serge, which is classified as 
Medium Heavy in weight, must be treated of the process. By a recognized 
qualifying feature, even though the Designer (or Thinker) has as yet no 
grade at his disposal. A feature may be recognized in bringing together sug- 



One hundred seventy-nine 



gestions. Predicted ideas, for example Duvetyn (Heavy Weight), gives the 
combination with Serge (Medium Heavy) an overbalance treatment in 
weights (even if small quantities are used). While a selection of a Canton 
Crepe (Medium Light) would combine with Serge (Medivim Heavy) to an 
advantage in Weight Value, the Weight Value is on an even scale. It is pos- 
sible to combine materials of the same value, but they must have a balanced 
or relative texture. 

You may take a Medium Weight and trim in a Heavy Weight; or a 
Heavy Weight and drape with a Light Weight Material. This is Psychology 
of Applied Art. 

It must be borne in mind that all these distinctions of conceiving combi- 
nations of materials are distinctions between numbers used in Models, which 
are the essential constructing portion. It is your doctrine of judgment. It is 
Quality and Quantity of Materials graduated by Line and Weights. 



One hundred eighty 



Materials and Classification 



Woolens 
Duvetyn H. 
Kasha Cloth H.M. 
Chinchilla H. 
Marvella H. 
Pom Pom H. 
BoUvia H. 
Suedyne H. 
Veldyne H. 
Jersey M.H. 
Silvertone H. 
French Serge M.H. 
Mannish Serge M.H. 
Tricotine M. 
Poiret Twill M. 
Gabardine M. 
Shepard Plaids M. 
Scotch Plaids M. 
Paisley H. 
Broadcloth H. 
Basket Weave M.H. 
Felt H. 
Unfinished Worsted 

H. 
Tweeds H. 
Homespun H. 
Velours H. 
Flannel M.H. • 
Nun's Veiling L. 
Shallie L. 



Silks 

Duvetyn M.L. 

Chinchilla Crepe M. 

Drapella M.L. 

Canton Crepe M.L. 

Satin Canton M.L. 

Kitten's Ear Crepe 
M.L. 

Jersey M.L. 

Serge L.M. 

Taffeta L.M. 

Chiffon Taffeta L. 

Brocade H. 

Metaltex L.M. 

Gold Cloth H. 

Taffeta Plaids M. 

Velvets H. 

Chiffon Velvet M.H. 

Brocaded Velvet H. 

Salome Velvet L. 

Paisley M. 

China Silk L. 

India Silk L. 

Roshanara Crepe M. 

Crepe Knit M. 

Krinkle Crepe M. 

Cork Screw Crepe 
M. 

Satin M.L. 
Silver Cloth H. 
Crepe de Chine L.M. 
Pussy Willow Taf- 
feta L.M. 
Duchesse Satin H. 
Tricolletxe M.H. 
Moire H. 

Taffeta Moire L.H. 
Printed Crepe de 

Chine L. 
Brocaded Canton M. 
Tussah L.M. 
Grosgrain M. 
Shantung L.M. 
Charmeuse M. 
Silk Velour M. 
Crepe Morocain 

L.M. 
Perlaine L.M. 
Bengaline M. 
PopUn 1,1. 
Kumsii Kumse M. 
Baronette Satin M. 
Satin Sonata M.L. 
Fantasie M. 
Alpaca M. 
Satine M. 
La Jerz M. 
Broadcloth M. 
Faille Silk M. 
Roman Striped Taf- 
feta L.M. 
Rajah Silk L.M. 



Cottons 
Velvetine H. 
Organdie L. 
Voile L. 
Oxford M. 
Linen M. 
Madras M. 
Dimities L. 
Long Cloth M. 
Muslin M. 
Soisette M. 
Crash Linnie M.L. 
Serpentine Crepe 

M.L. 
Cretonne H. 
Tapestry H. 
Chintz M. 
Dotted Swiss L. 
Poplin M. 

Aeroplane Linen M. 
Indian Head M. 
Batiste L. 
Nainsook M. 
Percale M. 
Gingham M. 
Pique M. 
Mohair M. 
Duck M. 
Cambric M. 



Veilings 

Brocaded Chiffon 
L.M. 

Chiffon L. 

Georgette L. 

Crepe Helene M.L. 

Crepe Romaine M.L. 

Satin Striped Geor- 
gette M.L. 

Flowered Chiffon L. 

Printed Chiffon, L. 

Paisley Georgette L. 

Mulle L. 

Tulle L. 

Net L. 

Moline L. 

Paulette Chiffon L. 

Peau de Sole L. 

Metallic Chiffon 
L.M. 

Marquisette L. 

Tarleton L. 



One humiicd e'ujhty-unc 



Ornaments and Ornamentation 

In the Fashion Sense, any artistic application created for a novelty is an 
object of added attraction for the Model to which it is applied; a scheme of 
the Creative Sense to decorate the Design. 

Classes of Ornamentation vary, and suggestions are to wit: 

The Ornamentation that is placed on the Model in a position that is sub- 
stantial is called the Structial. For example: A Beaded Plaque (an Orna- 
mental Design of a fanciful shape made in a solid foundation material, like 
Buckrum or Willow), so that it will be substantial to support another portion 
of the design like a drape, etc. 

The Ornamentation that is Free Lance moveable and applicable. For 
example: A large bow or something that has no set location. 

The Ornamentation that is Featuristic or Outlining. For example : Like 
Embroideries. 

The Ornamentation that is Futuristic or Impressionistic. For example: 
Models adorned with designs of painting, stenciling, staining and dyeing; 
like Batik, one of the very up-to-date artful designs and coloring. 

The Ornamentation of Applied Art. For example: The cutting away 
and putting in its place another Object of Art. For example : Lace Medal- 
lions, or other insertions. Or it is an article that can be applied to the exter- 
ior, like Ribbons, Furs, Braids, etc.; anything to make it artful. 

The Ornamentation by Chromatic Sense. For example: Making the 
Color predominate and the feature. A recent Parisian Idea of the Model with 
the Front and Back of the Model of different colors. 

The Ornamentation of Conventional Designs, Naturatistic — Convention- 
alized natural. To wit: 

Conventional — Designs of scrolls, etc.; a Mode of Custom. 

Naturalistic — Designs born from a spontaneous impression of an object 
conforming to that which is natural. 

Conventionalized Natural Designs in the effect like leaves. 

The Ornamentation of Grotesque effects. For example: Like Weird 
objects, like Spider and Spider Web. 

Ornamentation is acquired through various channels. Designers may 
receive the ideas from inspiration. For instance, while motoring in Califor- 
nia I chanced to stop and rest along the roadside. While sitting on the old 



One hundred eighty-two 



rock wall I noticed a snail whose shell would form a design for the top of a 
button. I immediately secured the same and copied it into a coil for a button 
top. The next season they were very popular. 

The proper use of ornamentation always depends upon the Model. It is 
also very Seasonable. Recent Seasons have been for Embroideries and Fringes. 

Individuality of Designing is different. If the Ornamentation is designed 
just to suit the Model, then the Model as a whole must be taken into consid- 
eration — Line^ Color and Material. 

For example take this version : After the Designer has created his Model 
a lacking feature might be needed to add charm or a necessity to finish out 
the Design; any instance might arise. A Design might end that has to be 
treated, a noticeable space or a necessity of an ornamentation to cover up 
raw edges. There might be Seasonable trends that must be added to make 
Model saleable. Sometimes it is a necessity to create Models for certain 
popular Ornamentations, like the Petal Model or a Model for Fur. 

Recreation of Ornamentation adapted to Modern Design can absolutely 
be a copy or originality used. The Classic interpretations and the Modern- 
ized designs are also features. Countries play an important part for Modern 
Designs for different seasons. For instance, the Russian, Egyptian, Chinese 
and Japanese Ornamentations. Nothing has surpassed their Arts of Colors 
and Designs. 

New ideas season after season have been created as Decoration. With 
the New you will find Old Ideas created into new form. It is for the Designer 
to use the sense of adaptation and with your cooperative and relative forma- 
tions of Psychology of Line, Color, Material, with the Psychology of Orna- 
mentation. 



One hundred eighty-three 



A Hundred Suggestions for Ornamentations 

Ornamentations. 



Laces, 

Braids, 

Furs, 

Feathers, 

Pom Poms, 

Embroideries, 

Couching, 

Beads, 

Stones (Rhinestones and Pearls), 

Flowers, 

Metal Art (Buckles, etc.), 

Ribbons, 

Buttons, 

Fringe, 

Fringing, 

Painting, 

Batik, 

Wood Block Prints, 

Prints, 

Stenciling, 

Stamping, 

Stitches (Designs made by same as 
Smocking, etc.). 

Stitching (Designs made by same as 
Chain Stitch, etc.). 

Fagoting (Designs made by con- 
necting stitches). 

Crocheting (Designs made by cro- 
cheting together), 

Picot and Hemstitching, 

Ruffles, 

Rosettes, 

Coils, 

Garlands, 

Foliage, 

Bands (Bias or otherwise). 

Leather, 

Motifs Applied, 

Designs made of material like Pet- 
als, etc.. 

Cording, 

Binding, Piping, 

Seams, 

Braiding, 



Shirring, 

Tassels, 

Inserts (Designs cut out). 

Insertion (one part connected with 

another by trimming). 
Brocaded Trimming, 
Tapestry, 
Needlepoint, 
Drawnwork Design, 
Puffing, 
Quilting, 
Spangles, 
Sequins, 
Pasmenteries^ 
Jets, 
Bows, 

Knots (French), 
Harem Rolls, 
Darts, 
Facings, 

Slots for threading through. 
Button Holes, 
Pockets, 
Stripes, 

Pieces (Inlays-Mosaic Effects), 
Shells, 

Charms (Ivory), 
Jewels (Cameos, etc.). 
Pendants (Crystal, etc.), 
Belts, 
Cords, 
Chains, 
Pins (Fancy), 
Rings, 
Plaques (Solid Designs made with 

material in various shapes), 
Discs (Round Ornaments generally 

of stones like Jadges, etc.), 
Balls, 
Tufts, 
Sashes, 
Scarfs, 
Berthas, 
Fisheaus, 



On,' hundred eighty-four 



Weaving, Collar and Cuffs, 

Webbing, Shirring (Popcorning and Frilling), 

Fruits and Berries, Pinching (Extra Fullness), 

Frills, Scallops, Points, Squares and all 

Eyelets, fancy edges (cut). 

Punching, Pinking, 

Open Work Designs (Designs Selvage, 

made hemstitched and cut open), Tinsel, 

Edging (Rolled and Whipped), Loops. 



One huiidied eighly-five 



Index 



Page 

Profile Face 19 

Full View Face 21 

A Three-quarter View of a Thirty-six Model with a Full View Face - - - 23 

Corsetiering Manikins ......24 

Small Backs 25 

Draft of Sleeve 27 

Sleeve Creations --.--.--.-.-28 
Instructions for Drafting Yoke ...-....--31 

Yoke Designing ---.--.-..-.33 

How to Take Measures 34 

Order of Taking Measures and Measure for Practice 36 

Continued Draft -.--.39 

Creating Ideas Upon Our Center Points 41 

Linings (Two Darted, French Bias, One Darted, Dartless and Princess Linings) 45 
Designing Straight-Line One-Piece Creations - - 

Introducing Silhouette Line ----......51 

(Chemise Blocks) --.--....--.51 

Semi-Fit Creations with Refreshing Inspirations --SS 

Creation of Kimona Sleeve Models --------- -59 

The Mechanics of Fashion ..----.-.-. 

Introducing Coat and Skirt -----...-.63 
Essence of Simple Line Balance ---.--.--. 

Relation of Line ..------..--69 

Opposite Silhouette Logic ..-----.-.-73 

Line of Suggestion --. .......... ^J^ 

Theme of Line 81 

Discovery of Line -.---.-..-.--85 
Influence (Sensation of Line) .--...--..-89 
Individuality of Line .-.----.-.--93 

Character of Line 97 

Lines in Name Only ---...-..... 

(Butterfly Kimona) ...---.--.- 101 

Artisans of Combining Blocks ----------- 

(Raglan Sleeves) 105 

Decoration of Line ------------- 109 

Descendency of Line ------------ 113 

French Lingerie (14 Pieces) US 

Lilliputian Art ..----... 

(Children's Clothes) 133 

Outdoor Sports Models 147 

Fads in Fashion (Three Piece Back) - - - -- 

(Circular and Military Capes) 153 

Jeune Fille Creations ...--------. 

(Linear and Aerial Lines) .--...-... 159 
The Tailored Woman 

(Heights and Altitudes of Lines in Cloths) --.-.-. I63 

Material and Materials 179 

Color and Colors 176 

Ornaments and Ornamentation ....--.... 182 



LIBRARY OF CONGRESS 



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